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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/37309-8.txt b/37309-8.txt new file mode 100644 index 0000000..2f9270f --- /dev/null +++ b/37309-8.txt @@ -0,0 +1,3657 @@ +The Project Gutenberg EBook of Violins and Violin Makers, by Joseph Pearce + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Violins and Violin Makers + Biographical Dictionary of the Great Italian Artistes, + their Followers and Imitators, to the present time. With + Essays on Important Subjects Connected with the Violin. + +Author: Joseph Pearce + +Release Date: September 4, 2011 [EBook #37309] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK VIOLINS AND VIOLIN MAKERS *** + + + + +Produced by Markus Brenner and the Online Distributed +Proofreading Team at https://www.pgdp.net (This file was +produced from images generously made available by The +Internet Archive/American Libraries.) + + + + + + +VIOLINS AND VIOLIN MAKERS. + +BIOGRAPHICAL DICTIONARY OF THE + +GREAT ITALIAN ARTISTES, THEIR + +FOLLOWERS AND IMITATORS, + +TO THE PRESENT TIME. + +WITH ESSAYS ON IMPORTANT SUBJECTS +CONNECTED WITH THE VIOLIN. + + +BY JOSEPH PEARCE, JUN. + + +LONDON: LONGMAN AND CO., PATERNOSTER ROW. +SHEFFIELD: J. PEARCE, JUN. +1866. + + + + +CONTENTS. + + + PAGE. + +Preface 5 + +Introduction 8 + +Violin Makers, alphabetically arranged 15 + +Bow Makers 88 + +Cremona 93 + +Amati Family 93 + +Stradiuarius 107 + +On the Cremona Varnish 119 + +Guarnerius 121 + +Steiner 131 + +Why are certain Violins of more Value than others? 140 + +On the Production of Good Tone in Violins 148 + +Great Players and their Instruments 152 + +General Notes 154 + +Repairs of Instruments 162 + +Addenda 167 + + + + +PREFACE. + + +The Violin is an instrument which, though small and of trifling +original cost, has yet commanded most extraordinary prices. The reason +of the immense difference in the value of these instruments must +therefore be a subject possessing strong claims to notice from virtuoso +and amateur. + +To distinguish by the outward characteristics and peculiarities of +tone, that which will be of pecuniary value to the possessor, and yield +the utmost delight to the hearer, is an acquirement at once difficult +to obtain and very valuable when obtained. To assist the amateur and +collector in this pursuit is the object of the present little work. +Such a work has long been a desideratum. + +Of late years, the History of the Violin and its congeners has received +much attention. Elaborate and costly treatises have been published, +some of which being written in Foreign tongues, are exceedingly +difficult to obtain, and not accessible to many of those who desire to +peruse them, on that account. Others are very imperfect and +unsatisfying. Others again, are, from their high price, beyond the +reach of the greater number of amateurs. + +The present work is intended chiefly for the use of those who desire a +handy guide to the principal characteristics both of make and tone +which mark the chief builders of this most famous instrument. Many +persons anxious to possess a good instrument, and led away by the very +natural desire to possess an Amati, a Guarnerius, or a Stradiuarius are +tempted into purchasing Violins which are presented to them under false +and delusive titles, and reject frequently good and genuine instruments +of less famous makers, but still valuable because they are good and +genuine. Undoubted specimens of the great masters are now very rarely +to be had, unless at a very high price. Yet, when we consider that even +Stradiuarius himself obtained no more than four pounds for his best +instruments, which now command as many hundreds--it is evident that, in +the absence of those great productions, the works of his pupils and +successors are well worthy the attention of amateurs. There is no +doubt, indeed, that many of these, which from being built on his +principles are of first-rate quality, have been sold as those of the +master himself. It cannot, therefore, be questioned that a knowledge +which will lead the amateur to buy an instrument for what it really is, +instead of what it professes to be, will at once save him from the +unpleasantness of paying too dearly, and in real enjoyment yield all +that can be desired. + +The author believes he has in this work given the amateur and +connoisseur information not easily attainable elsewhere, but as he is +fully conscious that there may be imperfections in it still, he will be +glad to receive any suggestions or information which may enable him to +render it still more complete. + +Sheffield, February, 1866. + + + + +INTRODUCTION. + + +The two most pleasing, expressive, and powerful single instruments of +music are the human voice and the violin. The one, the gift of +beneficent nature, has from the creation exercised its touching +influence on the human soul--the other, the product of the ingenuity of +man, has only within the last three centuries attained to perfection, +but since that period what delight, what rapture has arisen from so +simple a construction, when acted upon by the hand of genius! + +While the melodious tones of Grisi and Mario have touched with +sympathetic feelings the hearts and imaginations of spell bound +listeners, how have the magic tones of Paganini and Ernst wrapped the +souls of wondering thousands in an elysium of delight and admiration! +What effect cannot be produced by the Violin, (except that of speech,) +which the voice can accomplish? + +The Violin in the hands of genius can draw tears or create laughter. +Whoever has heard the great masters of this extraordinary instrument, +has heard all the sweetness of tone, the intensity of feeling, the +power of expression that the most gifted sons and daughters of song +could possibly produce without the additional aid of speech. The +Violin, in fact, in its power of expression far excels those singers, +of whom there are too many, who while singing the notes, fail to make +their hearers understand the sense of their songs. If a merry dance is +produced by the agile bow, its sympathetic tones at once excite a +corresponding feeling. If a plaintive air streams in delicious and +heart-touching cadences from the strings, what soul is there so dead to +feeling as not to respond? + +The perfection of the Violin is that its master, if alive to the subtle +and mysterious influences of the imagination, can elicit from it the +most perfect and touching "songs without words." + +It is besides the only instrument, except the voice, which is perfect. +Every shade of expression, every nicety of tone can be produced on it. +All other instruments sink into insignificance in comparison with the +Violin, because they cannot do this. They are all more or less +imperfect; and therefore fail in those subtleties of expression of +which the Violin and the voice are such able exponents. + +What gratitude do we owe therefore to those great masters of Cremona, +more especially the Amati and Stradiuarius, who have succeeded in +bringing the Violin to its present state of perfection. + +Music has in all ages been a source of the purest delight. The greatest +poet and dramatist the world ever knew says that whoever "has not music +in his soul is fit for treasons, stratagems, and spoils." In the +present age the cultivation of Music forms one of the most general and +the most refined sources of amusement and pleasure. All ranks of people +are now privileged to join in its delightful enjoyments. + +Even the cottage of the artisan is now often elevated by the elegant +practice of music, through the increased facilities for producing +instruments at a cheap rate. The consequence is that in the present age +there is a more general study and a finer perception of what is good +and beautiful, and their elevating tendencies are doing much for the +mental cultivation and refinement of all classes. + +A very extraordinary feature of the musical world of the present day is +the enormous orchestras which can be produced on special occasions. A +chorus of several thousand voices supported by hundreds of instruments +may now be heard, rendering the immortal compositions of the greatest +masters of the divine Art, in the Peoples' Palace at Sydenham and +elsewhere. These Orchestras are chiefly selected from the ranks of the +people, of whom the artisan is the chief contributor. + +The reduction of the cost of instruments and the adoption of what may +be called the joint stock principle are tending still further to +enlarge the boundaries of the practical musical world. At any time and +for any special purpose it is now easy to secure a band and chorus +sufficient in numbers and executive power to render in an efficient and +powerful manner, the glorious productions of Beethoven, Mozart, Handel, +and other great masters. + +In all these transitions, the Violin bears a most important part. It is +the leading instrument in these great performances, as it is also, +after the voice, the most powerful medium of expression in solo. It is +also the peoples' instrument. + +The labours of many eminent violin makers who have followed in the +steps of the great masters have of late so immensely improved the art, +that a good instrument may now be possessed by any one. And it may +safely be said that with its improvement, has arisen also the extension +and wide spread practice of music generally. An ear accustomed to the +fine tone of a good violin will not now tolerate a bad piano-forte. + +The Piano-forte and the Violin are the most general instruments, and +they have alike participated in the improvements effected, in becoming +cheaper by the advance of science. Every description of machinery has +within the last fifty years received the attention of able men, and the +mechanical construction of the Piano-forte is one prominent proof of +the advantages which can be conferred by science on even the luxuries +of life. + +The Violin, also, seemingly the most incapable of mechanical +application to its manufacture, is said to be now made by a most +persevering and enthusiastic lover and follower of the great makers, by +mechanical means. Copies of these celebrated makers, are now said to be +manufactured by him with an uniformity, a certainty, and a precision +impossible except by the aid of scientific improvements. These +instruments are therefore understood to require only the ameliorating +influences of time and use to become fine in tone and satisfactory in +every respect. + +Every one interested in the progress of music, must rejoice at the +rapid development of its resources and the general spread of its +pleasures among the people. We are a profoundly commercial nation, and +it is delightful to see that in our greater wealth and prosperity, +rational amusements, and more especially music, go on increasing step +by step with our more business-like occupations. This class of +amusements must exercise a humanising and refining influence on the +habits and manners of the people, and they should be, therefore, +patronised and encouraged by all those whose means are large and their +example powerful. There can be no doubt that their tendency is for +good, and that those whose leisure hours are devoted to their practice +and study, will be richly benefited by them in all those qualities +which combine to make the good citizen and the estimable friend. + + * * * * * + +NOTE. + +To prevent too much space being taken up in the alphabetical portion of +this work, separate chapters are given on the four renowned Violin +Makers, Amati, Stradiuarius, Guarnerius and Steiner. The names and +dates of each of the members of these celebrated families are however +given in their proper places, for prompt reference. + +We have not in some cases been able to find any records beyond the +names of certain makers. Wherever possible we have given dates, places, +and style of work. + + + + +DICTIONARY OF VIOLIN MAKERS. + + +A. + +ACEVO, --- Cremona, Pupil of Guiseppe Cappa. This artiste made very +good violins in the style of the Amati. + +ADDISON, WILLIAM, London, 1670. + +AIRETON, EDMUND, London, 1730. A good and neat Maker. + +ALDRED, --- London, Early English Lute Maker. + +ALETZIE, PAULO, Monaco, 1720-30. Famous for his Violoncellos. + +ALBANI, MATTHIAS, born at Botzen or Bulsani, in the Tyrol, about 1621. +This artist was highly esteemed formerly, and Otto says that it is +exceedingly difficult to give so exact a description of them as readily +to distinguish them from those of Nicholas Amati, who was said to be +his master. In the present day, opinions are very different. +Nevertheless there are some fine instruments by this maker, of high +model, with reddish brown varnish and bearing a great similarity to +those of Steiner, of whom he was also said to be a pupil. The +"Dictionary of Musicians" speaks highly of this maker. This was +decidedly the best artiste of this name. + +ALBANI, PAOLO, Palermo and Cremona, was also under Nicholas Amati, +about 1659. + +ALBANI, --- son of the above, about 1712, was also a careful maker, +and turned out some good Instruments. + +AMATI FAMILY. + +For fuller particulars of these eminent makers, see separate Article. + +AMATI, ANDREAS, Cremona, born 1520, died 1580. + +AMATI, NICHOLAS, brother of the above, celebrated for his Basses. + +AMATI, NICHOLAS, son of Andreas. + +AMATI, ANTONIUS and HIERONYMUS. Sons of Andreas, 1550 to 1634, first +made together and afterwards separately. + +AMATI, NICHOLAS, born 1596, died 1684, son of Hieronymus. This was the +greatest maker of the family. + +AMATI, ANTONIO JEROME, do. 1640 to 1670. + +AMATI, HIERONYMUS, Son of Nicholas, born 1649, said to be the last of +the Amati family. A violin of his is mentioned, dated 1672. + +AMELINGUE, --- Paris, 18th Century. + +ANSELMO, PIETRO, Venezia, 18th Century. + +ARTMANN, GOTHA. Followed Cremona pattern. + +ASSALONE, GASPARD, Rome, 18th Century. Cremona patterns. + + +B. + +BACHMANN, LOUIS CHARLES, Berlin, born 1716, died 1800. Considered to be +one of the best makers of Germany. Otto says, the Instruments by this +Maker are next in point of quality to the Cremonese. Without going so +far, with our present increased knowledge of the pupils of the Cremona +makers, it may still be admitted that Bachmann was an excellent maker +and was very careful in his proportions, so that Amateurs have been +often deceived into thinking them genuine Cremonas. They are of the +flat Stradiuarius Model, made of good wood, with amber varnish, and +therefore present considerable similarity to their patterns. + +BAGANZI, --- see Bergonzi. + +BAGATELLA, PIETRO,--Padua, 1766. Said not to be very good. + +BAGATELLA, ANTONIO,--Padua, 1782. Author of a Work on the construction +of Instruments, from which Bishop in his Translation of Otto, has +appended a Theory for making a Violin on a very simple plan. He made +some excellent Violins after Cremona patterns. + +BAINES, --- London, about 1780. + +BAKER, --- Oxford about 1720. + +BALESTRIERI, THOMAS, This excellent Maker was a pupil of Stradiuarius, +and made after his model. The Author has seen an Instrument by this +Artist, which is of the large flat pattern and has a magnificent and +brilliant tone. The wood of the back and ribs rather plain--the belly +very fine open grain, purfling not very neat--varnish reddish yellow. +Pronounced by judges to be equal to a fine Stradiuarius. It is dated +Thomas Balestrieri, Cremonensis, fecit Mantua, 1757. This instrument is +a proof that amateurs may in future look with safety to the pupils of +Stradiuarius for violins to take the place of those of the great +masters, which are yearly becoming scarcer and dearer. + +BALESTRIERI, PIETRO, Cremona, rather earlier than Thomas. + +BANKS, BENJAMIN, Salisbury. Born 1727, died 1795. Foster in his +excellent work calls him "one of England's best manufacturers. Too much +cannot be said in praise of this justly celebrated Maker. The work of +all the better class of instruments is excellent, the tone good of all; +but that of the Violoncellos in particular is full and sonorous." Mr. +Gardiner in his "Music and Friends," says "Banks of Salisbury's +Violoncellos are of the finest quality of tone--not so strong and fiery +as Foster's, but in sweetness and purity excelling them." They are +chiefly of the Amati pattern.--The best Instruments have brownish +yellow Varnish with a tinge of red, others deep red of a blackish +tinge, Varnish not brilliant. + +BANKS, BENJAMIN, Son of the former, London, born 1754, died 1820. + +BANKS, JAMES and HENRY, Salisbury, other sons of the same. James is +said to have been an excellent workman in his father's style, and dates +about 1805. + +BARRETT, JOHN, London, about 1725. His labels state him to live at the +Harp and Crown, in Picadilly. He made some good instruments, but did +not purfle them. The author has seen a Violoncello by this maker which +was everything that could be desired in the matter of tone. The wood +and workmanship, however, were not equal to the tone, and this +circumstance will probably partly account for the settled preference +now given to the Italian instruments over all the old English makers. + +BARTON, GEORGE, London, died 1810. + +BEKMAN, SWENO, Stockholm, 1706. + +BELLOSIO, --- one of the Venetian makers, 18th Century. + +BENOIST, --- Paris, 18th Century. + +BENTE, MATTEO, Brescia, about 1580. Well known among virtuosi as a +maker of merit in the style of Gaspar di Salo and Magini. + +BERGONZI, or BAGANZI, FRANCISCO, Cremona, 1687. + +BERGONZI, CARLO, Cremona, 1712 to 1750. Considered by authorities to +be the best pupil of Stradiuarius. He made instruments of the same +beautiful and brilliant tone which has rendered the productions of his +master famous throughout the world. Constructed on similar principles, +and generally of well-chosen wood, there is no doubt the productions of +this excellent artiste will hereafter rank very high. Like Stradiuarius +himself, Carlo Bergonzi is by some considered to have been at one time +a pupil of Nicholas Amati. Every amateur would, if it were possible, +get a Stradiuarius, an Amati, or a Guarnerius, but as the genuine +violins of these makers are very rare and valuable, they should look +for the veritable instruments of their pupils, which are now beginning +to be highly esteemed on account of their intrinsic excellence. + +BERGONZI, NICHOLAS, Son of Carlo, but said to be inferior to his +father. + +BERGONZI, MICHAEL ANGELO, Probably another son of Carlo. He, also, has +the credit of being a pupil of Stradiuarius, though that seems rather +doubtful, because the latter died in 1737, at which time, if a son of +Carlo, he would not have been old enough. + +BERNADEL, --- Paris, 18th Century. + +BETTS, JOHN, called Old Betts, London, + +and + +BETTS, EDWARD, his nephew. + +These two well known makers were said to be pupils of Duke, but often +employed other artistes, such as Carter, Panormo, B. Fendt, and his +sons, whose work, chiefly imitations of the Cremona instruments, gained +them great reputation both at home and abroad. 1782 to 1823. + +BINTERNAGLE, --- Gotha, 18th Century. This maker was a German imitator +of the Cremona Violins, and is said to have been very successful. + +BOCQUAY, JAQUES, Paris, about 1620. A very good maker, and highly +esteemed in France. + +BODIO, --- Venezia, 18th Century. + +BOLLES, --- An early English Lute and Viol Maker. Mace, 1675, says +"one bass of Bolles, I have known valued at £100," equal to at least +£600 of our present money. + +BORELLI, ANDREAS, Parma, 1740. + +BOULLAINGER, --- London. A careful maker, who first worked for others, +and now on his own account. + +BREMEISTER, JAN., Amsterdam, 1707. + +BROSCHI, CARLO, Parma, 1744. + +BRETON, Le, Paris. + +BROWN, JAMES, born 1670, died 1834, + +and + +BROWN, JAMES, son of do., born 1786, died 1860. Both good workmen, but +without any speciality. + +BUCHSTADTER, --- Ratisbon, 18th Century. Used the flat model. Otto +says the wood is not good, and therefore, though well built, the tone +is not fine; but Spohr puts his violins on his list as excellent +instruments. He may, therefore, be ranked among the good German makers. + +BUDIANI, JAVIETTA, Brescia, about 1580. Made after the style of Gaspar +di Salo. + + +C. + +CAESTA, PIETRO ANTONIO DELLA, Trevisa, 18th Century, imitated +Stradiuarius. + +CAMILE, CAMILUS de, Mantua, esteemed as a pupil of Stradiuarius. + +CAPPA, GIACHIMO or GIOFREDA or probably two Brothers, born at Cremona +and worked under Amati. Date there about 1590 and were in Piedmont +1640. There are some good Violoncellos of this make. + +CAPPA, GUISEPPE--Saluzzo--end of 16th Century. + +CAPPER, --- or probably Cappa, Mantua. A Violin of this make was sold +by auction in London in 1861, and said to be very good. + +CARTER, JOHN, London, 1789, made some excellent instruments which were +sold both under his own name and under that of John Betts for whom he +had worked. + +CARLO, GUISEPPE, Milan 1769. + +CASSINO, ANTONIO, Modena, 17th Century. + +CASTAGNERY, JEAN PAUL, Paris 1639 to 1662. This artist is considered to +be one of the best of the old French Makers. One authority says they +have a fine silvery tone but not powerful. + +CASTAGNERI, ANDREA, Paris. 18th Century. + +CHANOT, --- Mirecourt, France, a good maker, 18th Century. + +CHANOT, --- London. + +CHAPPUIS, (or Chappuy,) AUGUSTINE, about 1710. + +CHARLES, THERESS, London. + +CHEROTTE, --- Mirecourt, 18th Century. + +CHEVRIER, --- Paris, 18th Century. + +CHRISTA, JOSEPH PAUL, Munich, 1730. + +CHRISTOPHORI, BARTOLOMEO, Florence, 18th Century. + +CIRCAPA, THOMASO. Naples, 1730. + +CLARK, --- London. + +COLE, THOMAS, London. Forster says no instrument has been preserved of +this maker, but that is a mistake. There is in the neighborhood of +Sheffield, a very large Tenor with a fine deep tone and the following +curious label. + + Made 1690, by + THOMAS COLE of + London, on Holborn Hill, who selleth + all sorts of Musical Instruments. + +COLLINGWOOD, JOSEPH, London, 18th Century. + +CORSBY, GEORGE, believed to be formerly a maker at Northampton, and now +and for a long time a dealer in Violins, &c., in Princes' Street, Soho, +London. + +CONWAY, WILLIAM, 1745. + +COLLIER, SAMUEL, 1755. + +CRASK, GEORGE, of various places, has made many Violins in imitation of +the Cremona Makers, some of which have been sold by unscrupulous +dealers as genuine instruments, an example of which we have seen which +was purchased by a professional man, since dead, of a Violinist then on +a Musical Tour. It is only right here to say that we believe Mr. Crask +to be entirely free from blame in this matter, as he sells these +instruments as his own productions. + +CROWTHER, JOHN, 1755 to 1810. + +CROSS, NATHANIEL, London, about 1720. He was partner at one time with +Barak Norman and used his monogram sometimes. He also stamped a Cross +in the inside of his instruments as well as used it in his labels. He +made some good Violins, which resemble those of Steiner. His mark in +the inside of the back is here given. + + + + N. C. + +A violin of this make which we have seen, has the great fault of having +the bass bar cut out of the solid, instead of being glued in, thus +contravening the established principles of the art. + +CONTRERAS, JOSEPH, Madrid, 1746. An excellent maker, who was +particularly celebrated for his copies of Stradiuarius. + + +D. + +DARDELLI, PIETRO, Mantua, about 1500. Made good rebecs, violas and +viols da gamba. Fetis mentions some of them as still existing. + +DECOMBRE, AMBROISE, Tournay, 1700 to 1735, was said to be one of the +pupils of Stradiuarius and made some good instruments of his pattern. + +DESPONS, ANTOINE, Paris,--one of the good French Makers, about 1725. + +DICKENSON, EDWARD, 1754. + +DICKSON, JOHN, Cambridge, 1779. + +DIEHL, NICHOLAUS, Darmstadt, 17th Century. + +DITTON, ---- London, about 1720. + +DODD, THOMAS, Son of Edward Dodd of Sheffield, and who died in London +in 1810, at the great age of 105 years (see Bow Makers). Thomas Dodd's +instruments have had considerable reputation, but it is believed he was +not a maker himself, but employed Bernard Fendt and John Lott, through +whose excellent workmanship his name, which he put on the labels, +became well known. + +DODD, THOMAS. Son of the above; he was drowned in 1843. + +DOMINISCELLI--Ferrara, 18th Century. A good workman. + +DUKE, RICHARD, London, 1767 to 1777. This Artist was very celebrated in +his day and his instruments commanded very good prices. He frequently +stamped his name on the back, but as far as we have seen, only on +inferior productions. Very good instruments may now occasionally be met +with at low prices in consequence of the great prejudice in favour of +the Italian and other foreign makers. + +DURFEL, ---- Altenburg, made good double Basses. His violins are also +said by one authority to be excellent in point of tone. + +DUIFFOPRUGCAR, GASPARD, born in the Tyrol, established in Bologna in +1510, and went to Paris at the invitation of Francis 1st. He afterwards +removed to Lyons. This appears to be the first maker of the genuine +Violin we have on record, and some instruments still exist to attest +the excellence to which he had reached. M. Vuillaume, possesses a Bass +Viol, and other Parisian Collectors possess instruments by this ancient +artiste. + + +E. + +EBERLE, JEAN ULRIC, Prague, 1749. Otto says this is one of the most +celebrated German Makers and his instruments have been frequently taken +by experienced connoisseurs for Italian; the difference being that they +"have a sharper or rather not so round and full a tone." Connoisseurs +could not be very experienced at that time, if they could mistake for +Cremonese, instruments possessing this characteristic, which is exactly +what distinguishes the inferior instruments from the genuine. + +EBERTI, TOMMASO, about 1730. + +EDLINGER, THOMAS, Prague 1715. + +EDLINGER, JOSEPH JOACHIM, Prague, son of Thomas. Visited Italy, and +afterwards built some excellent instruments; died in 1748. + +ERNST, FRANCOIS ANTOINE, born in Bohemia in 1745. This artiste made +some excellent instruments which are said almost to reach the Cremonas +in tone. He was also the Author of a Treatise on Instruments. The +celebrated Violinist Spohr, author of "the Violin School," is said to +have at one time used one of this maker's instruments. + +EVANS, RICHARD London, 1742. + + +F. + +FARINATO, PAUL, Venezia, about 1700. + +FENDT, or FINTH, Paris, 1763-80. Made good instruments after the +Stradiuarius model, some of which followed his style so carefully as to +have been taken for those of that master. + +FENDT, BERNHARD, born 1775, died 1825. Nephew of the above. He worked +first for Dodd and afterwards for old John Betts. He was a capital +workman and made many fine imitations of the Cremonese instruments. + +FENDT, BERNARD SIMON, Son of the above, born 1800, died 1852, became +partner with Purdy in the well known firm of Purdy and Fendt. + +FENDT, MARTIN, brother of the above, born 1812, died 1845. + +FENDT, JACOB, born 1815, died 1849. + +FENDT, FRANCIS. + +FENDT, WILLIAM, Son of Bernard Simon, born 1833, died 1852. + +All the Fendts have the reputation of being excellent workmen. + +FICHTOLD, HANS, 1612, is said to have made good instruments. + +FICKER, JOHANN CHRISTIAN, Cremona 1722. + +FICKER, JOHANN GOTLIEB, Cremona 1788. + +FLEURY, BENOIST, Paris, about 1720. + +FLORENTUS, FLORINUS, Bologna, 1690. Followed the Amati patterns, and +has a good reputation in that style. + +FORSTER, WILLIAM. The first Violin maker of this now celebrated name, +born 1713, died 1801. + +FORSTER, WILLIAM, born 1739, died 1808. This maker was very celebrated +for his Violas and Violoncellos. He appears to have followed the +Steiner pattern in 1762, and the Amati pattern in 1772. His common +instruments were not purfled, second class purfled but still much +inferior to the third class, "in which," says an authority, "everything +was embodied to conduce to excellence and beautiful appearance and to +the finest tone;" and again, "his instruments are second to none in +merit and the best Europe has ever known, especially his amber coloured +Violoncellos, which are renowned for mellowness, volume, and power of +tone, equalled by few, surpassed by none." We need scarcely say that +this opinion is rather strongly expressed, and may be considered +partial. Without at all detracting from the real excellence of Wm. +Forster's instruments, which is very great, we may confidently assert +that the great Cremona Makers have had no rivals. Whether in power, +purity, and sweetness of tone--or beauty of wood and workmanship--the +best instruments of Nicholas Amati, Antonius Stradiuarius, and Joseph +Guarnerius have never yet been equalled. Wm. Forster's Violoncellos +have, however, (in England at any rate,) been held in high esteem both +by players and amateurs, and have realised good prices. + +FORSTER, WILLIAM, the third of the name born 1764, died 1824, known as +young Forster. His instruments are not so good as those of his father, +but still excellent productions. + +FORSTER, WILLIAM, the fourth of the name, born 1788, died 1824. A good +workman, but not equal to the second William Forster. + +FORSTER, SIMON ANDREW, son of the above, born 1801, author, in +conjunction with William Sandys, F.S.A., of a most elaborate and +excellent work from which these particulars are taken, entitled +"History of the Violin and other Instruments played on with the Bow, +from the remotest times to the present." He is also like the rest of +the family, a maker and bears a good reputation. + +FORSTER.--Of this noted family Dubourg in his amusing and interesting +book, "The Violin," speaks in complimentary terms. He says, "The +Forsters, old and young, grandfather and grandson, have, in their +department of art, a name that lives." + +FOURRIER, NICHOLAS, born at Mirecourt. Settled in Paris, died 1816; +good maker, after the Cremona school. + +FRITZCHE, SAMUEL, Leipsic, 1787, pupil of Hunger, and made similar +instruments. They are of the Italian model and have amber varnish. + +FRITZ, BERTHOLD, Leipsic, 1757. + +FRANKLAND, ---- London, 1785. + +FREY, HANS, Nuremberg, lute maker, 15th Century. + +FURBER, DAVID, about 1700. + +FURBER, MATTHEW, son of David, 1740. + +FURBER, JOHN, grandson of David, 1759. + +FURBER, MATTHEW, son of the above, died 1840. + +FURBER, JOHN, son of Matthew, 1840. + + +G. + +GABRIELLE, GIOVANNI, BAPTISTA, Florence, 18th Century, considered to be +a good Maker. + +GAGLIANO, or GALIANO, ALESSANDRO, Naples, about 1710, is generally +reckoned as one of the pupils of Stradiuarius, but was more probably +only one of his imitators. He made some good instruments of the +Stradiuarius model, which possess a bright and sparkling tone; they +are, however, generally characterised by less power of tone, +Stradiuarius having in this particular the advantage over nearly all +his imitators, some of his personal pupils being perhaps the only +exceptions. + +NOTE.--M. Fetis commences the line of the Gaglianos with Nicolo, 1700, +ten years earlier than Alessandro, whom he also calls Gennaro, and +ranks him as a maker formed under one of the immediate pupils of +Stradiuarius. + +GAGLIANO, JANUARIUS, Naples, 1740. Son of Alessandro. + +GAGLIANO, NICHOLAUS, Naples. Another son of Alessandro. + +GAGLIANO, FERDINANDO, Naples, made to 1790. + +GAGLIANO, GUISEPPE, Naples, 1790. + +GAGLIANO, GIOVANNI, Naples. + +GAGLIANO, ANTONIO, Naples. + +GAGLIANO, RAPHAEL, Naples, son of Giovanni. + +GAGLIANO, ANTONIO, Naples, son of Giovanni. + +GAGLIANO FAMILY. + +Most of the instruments made by the Gagliano family possess a good +quality of tone, and Amateurs who have no necessity for that great +power which Stradiuarius and Guarnerius conferred on their best +productions, will do well to secure any genuine Gagliano which they may +meet with, rather than risk the chance of getting less merit, under a +more pretentious name. + +GALERZENA, ---- Piedmont, 1790. + +GAND, ---- Paris. A first-rate maker. He was son-in-law to Lupot. + +GARANA, MICHAEL ANGELO, Bologna. An excellent maker, about 1700, +considered by Fetis to be a pupil of one of those celebrated makers +formed in the Cremona schools. + +GATTANANI, ---- Piedmont, 1790. + +GAVINIES, ---- Paris, 18th Century. + +GEDLER, JOHANN ANTONY, Fissen, Bavaria, 18th Century. + +GEDLER, JOHANN BENEDICT, same place and same date. + +GERANS, PAUL, Cremona, about 1615. + +GERLE, JEAN, Nuremberg, about 1540. Made Lutes, Viols da Gamba, &c. + +GILKES, SAMUEL, London, 1787 to 1827. Pupil of the Second William +Forster. An excellent maker. His work was most highly finished and his +varnish of a rich quality. + +GILKES, WILLIAM, born 1811. Not equal as a maker to Samuel. + +GIORDANE, ALBERTO, Cremona, 1735. + +GOBETTI, FRANCISCO, Venezia, about 1700. A pupil of Stradiuarius, and +an excellent artiste. + +GOFILLER, MATTEO, Venezia, about 1725. A good maker after Cremona +patterns. + +GOFILLER, FRANCISCO, Venezia. Brother to Matteo, similar, same date. + +GRAGNARIUS, ANTONIO, early part of 18th Century. + +GRANCINO, GIOVANNI, Milan, middle of 17th Century. + +GRANCINO, PAOLO, do. do. + +GRANCINO, GIOVANNI BAPTISTA, Milan, son of first named. + +GRANCINO, GIOVANNI BAPTISTA, Milan, early in 18th Century. + +GRANCINO, FRANCISCO, son of Giovanni Baptista. This artiste made to +about 1760, or rather later. + +GRANCINO FAMILY. + +These makers produced some very good but not handsome instruments. +Lindley is said to have had a Violoncello by one of the Grancinos, the +tone of which was very fine and powerful, with light yellow varnish +darkened by age; the wood of back and sides very plain, but the belly +very fine. + +GROBITZ, ---- Warsaw, about 1750. Made some good instruments of the +Steiner model. + +GUERSAN, ---- Paris. An excellent maker, small model, careful finish, +and fine tone; about 1730. + +GUGEMMOS, ---- Fissen, Bavaria. + +GUIDANTUS, GIOVANNI FLORENUS, Bologna, about 1750. An excellent maker. + +GULETTO, NICHOLAS, Cremona, about 1790. + +GUADAGNINI, LORENZO, Cremona, 1690 to 1720. Pupil of Stradiuarius and +highly esteemed as a maker. Followed the style of his celebrated +teacher. + +Guadagnini is one of the makers especially recommended by Spohr when +one of the three great masters cannot be procured. A good specimen of +his work will always command a good price. + +GUADAGNINI, LORENZO, Placentia and Milan, 1742. Made instruments +generally of the smaller model. Was a careful workman and finished his +instruments well, and used good varnish. + +GUADAGNINI, BAPTISTA. Same places and about same dates, and made +similar instruments. + +GUADAGNINI, GUISEPPE, Turin, 1751. + +GUADAGNINI, GUISEPPE, Parma, 1793. + +GUARNERIUS FAMILY. + +A more extended account of these great masters will be found in a +separate chapter. + +GUARNERIUS, ANDREAS, Cremona, horn 1630, dates to 1680. Pupil of +Hieronymus Amati. + +GUARNERIUS, GUISEPPE, son of Andreas, Cremona, dates from 1690 to 1730. + +GUARNERIUS, PIETRO, another son of Andreas. Removed in the latter part +of his life from Cremona to Mantua. + +GUARNERIUS, JOSEPH, nephew of Andreas. Known as Joseph to distinguish +him from his cousin of the same name, but who is generally known as +Guiseppe. Joseph was the great maker of the family, born 1683, died +1745, at Cremona. + + +H. + +HARBOUR, ---- London, 1785. + +HARDIE, MATTHEW, Edinburgh, about 1820. Made some good instruments +which occasionally possessed great power, but not always very neat +finish. + +HARDIE, THOMAS. Son of Matthew, Edinburgh, was also a good +workman--died in 1856, from accidentally falling down stairs. + +HARE, JOSEPH, London, 1720, is said to have been the first in England +to introduce the flat model, all the makers before him and for some +time after, following the elevated model of Steiner. He also introduced +a varnish of greater transparency than was generally used at that time +in England. + +HARRIS, CHARLES, London, about 1815. + +HARRIS, CHARLES. Son of the above. + +HART, JOHN, of Princes Street, Leicester Square, London, pupil of +Samuel Gilkes, is a maker; and restorer of instruments, in which latter +capacity we have pleasure in stating him to be worthy of the extensive +reputation he has acquired. He is also a great connoisseur in old +instruments, and has the honour of having formed most of the fine +collections in this country. The largest price ever given for a Violin +was for one imported by him and which from its beauty, model, varnish +and perfection of condition is known by the name of the King Joseph +Guarnerius. This instrument is considered quite unique and was sold for +700 guineas. The celebrated collection of Charles Plowden, Esq., which +embraces four fine instruments of Stradiuarius and four of Joseph +Guarnerius, and which is acknowledged to be the finest collection in +the world, was also formed by Mr. Hart. Mr. Plowden's taste being +highly cultivated, he rejects any instrument which is not of the very +highest order, and therefore it reflects great credit on Mr. Hart's +judgment to have succeeded in placing so many fine instruments in the +collection of so critical a connoisseur. We shall have occasion to +mention other celebrated instruments in the Chapters on the Great +Masters of the Art. + +HASSERT, ---- Rudolstadt, 18th Century. Made instruments of a high +model, which though he used good wood and finished them carefully, did +not possess very good tone. Very few makers have succeeded in imparting +superior tone to high built instruments. + +HASSERT, ----, Eisenach, 18th Century, brother of the above--adopted a +different system, and followed the flatter model of the Cremona School +with considerable success. His instruments are remarkable for beautiful +wood, and Otto speaks very highly of them, saying that many of them can +only be distinguished from the genuine Italians by experienced judges. +In the present day we think Otto was partial to his own countrymen's +work, and that there are very few German instruments which can be taken +for Italian by judges. + +HEESOM, EDWARD, London, 1750. + +HELMER, CHARLES, Prague, 1740. This artiste was a pupil of Eberle, and +is considered a careful workman, but used too light a bass bar, which, +unless a stronger one be substituted, depreciates the character of his +instruments. + +HILDEBRANT, MICHAEL CHRISTOPHER, Hamburg, 1765. Esteemed as a good +maker. + +HILL, WILLIAM, London, 1740. Made some good instruments, but they are +said to be deficient in quality in consequence of being built on a +wrong principle, the centres having too little wood. + +HILL, JOSEPH, London, 1770, brother of the above. Reckoned a superior +maker to his brother, and produced some very excellent Violoncellos +which obtained him a good reputation, and caused him to be classed high +among English makers, but like the others, he is now depreciated in +value below his real merits. + +HIRCUTT, ---- English maker, about 1600. + +HOFFMAN, MARTIN, Leipsic, is said to be chiefly known as a skilful lute +maker. His Tenors are considered good, and Otto says his violins have +an excellent quality of tone when unspoiled, but are not esteemed on +account of their ungraceful appearance. + +HOLLOWAY, J., London, 1794. + +HORIL, ---- (Italian) about 1720. + +HULLER, AUGUSTINE, Shoeneck, 1775. + +HUME, RICHARD, Edinburgh. An early English lute maker; about 1530. + +HUNGER, CHRISTOPHER FREDERICK, Leipsic, 1787. A good maker who followed +the Italian style, used good wood and amber varnish. This maker is +classed among the superior German artistes, and his instruments are +said to be beautiful. + + +J. + +JACOBS, ---- Amsterdam, 18th Century. This maker imitated the Amatis +and produced some good instruments after their Models which also +partook of their sweet tone but had little power. One authority we have +consulted calls this maker a pupil of Amati, and states that he used +whalebone purfling. + +JAYE, HENRY, London, 1615. Of this maker we have not been able to find +any account unless it be to him that Mace (1676,) refers when he says, +speaking of the makers of Viols, "Of such there are no better in the +world, than those of Aldred, Jay, Smith" &c. He was certainly an +excellent maker judging from an instrument we have seen which has been +converted into a small Violoncello with four strings. It is handsomely +finished, with ornamental purfling and good varnish and a well carved +head. As a small violoncello the tone is also very good. Dated "in +Southwarke," 1615. + +JAY, THOMAS, London, about 1700. + +JAY, HENRY, London, 1750. It appears that this artiste was best known +as a maker of Kits, which were very well made and for which he obtained +the extraordinary price in those days of five pounds each. When we +remember that four pounds was the price that Stradiuarius got for his +best violins in his life time, and from an anecdote told by Mr. +Forster, that Cervetto could not even get that price for some he got +direct from the maker, we see one of those extraordinary freaks of +fashion for which, to use the expression of my Lord Dundreary, no +fellow can account. + +JAUCH, ---- Dresden, about 1765, is said to have made good instruments +on Cremona models, and is generally placed among the good German +makers. + +JOHNSON, JOHN, London, 1753. + +JULIANO, FRANCISCO, Rome, 1700. + + +K. + +KAMBL, JOHANN, CORNELIUS, 1635. + +KENNEDY, ALEXANDER, London, died 1785, and considered to be about 90 +years of age. This artiste obtained considerable reputation for good +and neat work. He followed the Steiner model, and used yellow varnish. +It is not known that he made any other instruments than violins. + +KENNEDY, JOHN, London, died in 1816, and considered to be 86 years of +age. Made violins and tenors of the Steiner model. + +KENNEDY, THOMAS, son of John, London, bears the reputation of a good +and neat artiste, and is said to have made at least 300 violoncellos +and other instruments in proportion. + +KEKLIN, JOAN, Brescia, about 1450. This artiste is believed by some +inquirers to be the earliest maker of the violin proper, but Fetis says +that the only instrument of his that is known, and which was in the +possession of Koliker of Paris, and dated 1449, was not really a +violin, but a viol with changed neck and mounted with four strings. It +would appear, therefore, that the merit of the actual introduction of +the real violin belongs properly to Gaspar di Salo. + +KIAPOSSE, SAWES, Petersburg, 1748. + +KLOTZ, MATTHIAS, Tyrolese, about 1675, considered by Fetis to have been +a pupil of Steiner, and the first violin maker of this well known name. +He made some instruments, which established his reputation as a careful +artiste. + +KLOTZ, EGITIA. This maker, who appears to have been a son of Matthias, +is often considered to be the best maker of this Family. He is commonly +called the pupil of Steiner, but that must be doubtful. More probably +he followed the Steiner traditions as exemplified by his father. He +used amber varnish, good wood, and his instruments are well made and +have his own name upon them. + +KLOTZ, GEORGE, brother of Egitia. + +KLOTZ, SEBASTIAN, another brother. We believe this artiste to be the +best maker of the Klotz family. He built large sized violins, which +possess a fine tone and have excellent varnish. + +KLOTZ, MICHAEL,--1771. + +KLOTZ, JOSEPH, son of Egitia, Mittenwald an der Iser, 1774. Otto says +this artiste built after his father's system--but was better acquainted +with the qualities of wood, and his instruments are therefore superior +in tone, but are badly varnished in their original state. + +THE KLOTZ FAMILY. + +Spohr enumerates Klotz among the makers whose instruments are worthy of +attention, but does not indicate which of them in particular. We have +before expressed our opinion that Sebastian ranks highest in merit, +which is corroborated by the most experienced connoisseur of the +present day. Some violins of this name have achieved a high reputation. +Parkes, in his "Musical Memoirs," mentions a Klotz Violin belonging to +Mr. Hay, the Leader of the King's Band, for which a Noble Lord offered +£300 and an annuity of £100. This seems a most extraordinary offer, for +any instrument, unless it were a very fine Stradiuarius or Guarnerius. + +KOHL, JEAN, Munich, Luthier to the Court, about 1570. Fetis states that +from some old accounts he finds he was paid two florins for a lute, a +strange discrepancy in value from the statement of Mace a century +later.--(See Bolles.) + +KOLDITZ, MATTHIAS JOHANN, Munich, 1722. + +KOLDITZ, JAQUES, Rumbourg, in Bohemia, 1790; said to be very good. + +KOLIKER, ---- Paris, a noted maker and collector, about 1750. + +KNITTING, PHILIP, Mittenwald, 1760. + +KNITL, JOSEPH, Mittenwald, 1790. + +KRINER, JOSEPH, Mittenwald, 1785. + + +L. + +LACASSO, ANTONIO MARIA, Milan, probably the same as Lausa. + +LAGETTO, Paris, about 1650. Followed the Amati patterns. + +LAMBERT, JOHANN HENRY, Berlin, 1760. + +LAMBERT, ---- Nancy, 1760. A prolific but not very careful maker, which +gained him the name of the Lute Carpenter. + +LANDOLPHI, CARLO, Florence, 1750. An excellent maker, who followed the +Cremona patterns with considerable success. + +LANDOLPHI, FERDINAND, Milan, about same date. + +There appears to be some doubt whether there was more than one +Landolphi, his name being Carlo Ferdinand, but being mentioned as of +both Florence and Milan, and the Christian names given separately, +there may have been two. Fetis only mentions Carlo, and locates him at +Milan. + +LAUSA, ANTONIO MARIA, 1675. A capital imitator of Magini and Gaspar di +Salo's instruments, but is said not to have succeeded in rivalling them +in tone. + +LAUTTEN, L. W. No particulars of this maker; but we find a violin by +him in a Catalogue, described as "fine and handsome." + +LECLERC, ---- Paris, 18th Century. + +LENTZ, JOHANN NICHOLAUS, London, about 1800. Considered a good workman. + +LEWIS, EDWARD. London, about 1700. An excellent maker, used good wood, +fine varnish, chiefly of a yellow colour, and was notable for his +excellent finish. + +LINELLI, or LINAROLLA, ---- Venezia, about 1520. A maker of rebecs, +viols, and viols da gamba. + +LOTT, JOHN FREDERICK, London, born 1775, died 1853. An excellent +workman, who made many instruments for Thomas Dodd. He is also very +generally known as a first-rate double bass maker. + +LOTT, GEORGE FREDERICK, son of the above, was also an excellent +workman, and is said to have been chiefly employed by dealers. + +LOTZ, THEODORE, Prestburg, about 1735, has a good reputation as a maker +of violins. + +LUPOT, FRANCOIS, Stuttgard, about 1770. + +LUPOT, NICHOLAS, son of Francois, born at Stuttgard, 1758; went to +Orleans, 1786, and Paris, 1794; died 1824. This artiste deserves the +title of the King of the French makers. He followed the model of +Stradiuarius, used excellent wood and good varnish, much in the style +of that master. His violins are very fine in tone and resemble the +Italian more than any other maker's. Tolbecque, the violinist has two +very fine specimens. His instruments have been frequently selected by +the French Conservatoire as prizes for their pupils. They now fetch +high prices. Dubourg calls him "a studious artist, whose instruments +are in request when a good Cremona is unattainable." He also says, +"sixty guineas have been refused for one of his best violins." Spohr in +his "Violin School," also recommends his instruments. This artiste +published a work on the construction of violins, called "La Chelonomie, +on le parfait Luthier." + + +M. + +MAGGINI, GIOVANNI PAOLO, Brescia, 1590 to 1640. This celebrated artiste +was a pupil of Gaspar di Salo. His instruments are highly esteemed, and +are both rare and valuable. They are generally of a large pattern, with +elevated model, reaching almost to the edges; narrow ribs, double +purfling, frequently ending on the top and bottom of the back with an +ornament in the shape of a leaf--and fine yellowish brown or golden +coloured varnish, of good quality. Some few are said to have deep brown +varnish. They possess a tone of a peculiar character--deep, solemn, and +somewhat plaintive. Dubourg describes it as "less soft than that of a +Stradiuarius, and less potent than a Guarnerius, approaching that of a +viol, and has in it a touch of melancholy." From their size these +instruments had not been in great favour with violinists until the +celebrated DeBeriot introduced one, which from its splendid tone +brought them at once into esteem, and for which he has been offered +almost fabulous sums. + +MAGGINI, PIETRO SANTO, Brescia, son of Giovanni Paolo, 1630 to 1680. +Followed the same style as his father, but was more particularly famous +for his double basses, which the Italians consider to be the best ever +made, after those of Gaspar di Salo. + +MAIER, ANDREA FERDINAND, Salzburg, 1746. Little is known of this maker +except that he made the small instrument on which the immortal Mozart +first learned to play the violin, which event, could he have foreseen, +would no doubt have compensated him for the want of more general fame. + +MALDONNER, ---- Bavaria, about 1760. + +MALLER, LAUX, Venice. This artiste was an early and highly esteemed +maker of lutes. Mace in his curious and very interesting book, "Music's +Monument," mentions him as one of the best authors, _i.e._ makers. He +also says he has "seen two of his lutes ('pittiful, battered, cracked +Things,') valued at £100 apiece." Mace's book was published in 1676. +Think of £100 for a lute two hundred years ago, when the value of money +was at least six times less than it is now! This would make the +comparative value of a "battered" old lute about £600, a sum (with the +exception of the King Joseph Guarnerius, mentioned elsewhere) exceeding +the highest price we have heard of in modern times. Even the most +splendid and perfect violins of Stradiuarius have never realised as +much as this "pittiful battered lute!" In the face of this fact (as we +suppose it is) we cannot be surprised that enthusiastic amateurs should +in the present day give such large prices for the splendid productions +of the great Cremona Makers. + +MARIANI, ANTONIO, Pesaro, 1570 to 1620. An imitator of Gaspar di Salo. + +MARATTI, ---- Verona, 1690. Made good toned violins, but the +workmanship has little character. + +MARQUIS DE LAIR, ---- A French maker about 1800. + +MARSHALL, JOHN, London, 1760. + +MARTIN, ---- London, 1790. + +MAUCOTEL, CHARLES, London. An excellent workman, who has produced some +beautiful instruments. + +MAUSIELL, LEONARD, Nuremburg, 1725. A capital imitator of Steiner, +whose style he followed so closely as to render it (as it is stated) +difficult to distinguish the one from the other. This is one of the +makers praised by Spohr in his "Violin School," as worthy attention +when a good Cremona cannot be got. + +MAYRHOF, ANDREA FERDINAND, Salzburg, 1740. + +MEDARD, HENRY, Paris and Nancy. A French maker, who is generally +considered to have been a pupil of Nicholas Amati, and was esteemed +nearly equal to his master; but Fetis includes him in his list of the +personal pupils of Antonius Stradiuarius. + +MERLIN, JOSEPH, London, about 1780. A very ingenious person, who +obtained the honour of being mentioned in Madame D'Arblay's "Diary and +Letters." His violins were after the Steiner pattern, and well made, +but did not approach the Steiner tone. + +MEUSIDLER, JEAN, Nuremberg, about 1540. A maker of viols, viols da +gamba, &c. + +MEZZADIE, ALEXANDER, Ferrara, about 1700. A good maker who followed the +Amati style, and is reckoned by Fetis as one of that school. + +MIER, ---- London, 1786. + +MILANI, FRANCISCO, Milan, is supposed to be a pupil of Guadagnini and +followed his style,--about 1760. + +MILLER, ---- London, about 1750. + +MOHR, PHILIP, Hamburg, 1650. + +MONTADE, GREGORIO, Cremona, 1735. Considered to be a pupil of +Stradiuarius, but more probably an imitator. + +MONTAGNANA, DOMINICO, Venezia, 1725. This excellent artiste made +instruments generally of a large size, and used wood of a large and +beautiful figure. The varnish exceedingly brilliant and of a rich +yellow or yellow red colour, and the tone everything that can be +desired. Mr. Perkins had a violoncello of this make, which was +originally sold as a Joseph Guarnerius, and was said in the catalogue +to be uncommonly fine and handsome. This is another of those careful +artistes, whose productions are now in high esteem when one of the +three great masters cannot be obtained, and which will very probably +hereafter rank with them and become very famous. + +MORRISON, JOHN, London, 1780 to 1819. + +MORELLA, MORGLATO, Mantua, about 1550. Famous for rebecs, viols, and +viols da gamba. + + +N. + +NAMY, ---- Paris, about 1800. + +NAYLOR, ISAAC, Leeds, 1788. + +NEWTON, ISAAC, 1780. + +NICHOLAS, ---- Geneva, 1790. + +NIGGEL, SYMPERTUS, Paris, about 1650. + +NORMAN, BARAK, London, 1690 to 1740. He generally used a monogram +formed of the letters NB. interlaced. This artiste has long been a +favourite, and he certainly made some good instruments, which in the +present day are depreciated below their real worth, as is the case also +with other English makers, whose productions have had to give way +before the prevailing preference for Italian instruments. He was +partner at one time with Nathaniel Cross, and the instruments then made +bear their joint names on the labels. + +NORRIS AND BARNES, pupils of Thomas Smith, 1785 to 1818. + +NOVELLO, VALENTINO, Venezia, about the middle of 18th Century. + +NOVELLO, MARCO ANTONIO, Venezia, same date. Both these makers are in +good esteem. + + +O. + +OBUE, BARTOLOMEO, Verona. + +ODOARDI, GUISEPPE, early 18th Century. + +OTT, JEAN, Nuremberg. Lute maker, 15th Century. + +OTTO, JACOB AUGUSTUS, born at Gotha, 1762, died 1830. Author of the +celebrated Book on the Construction of the Violin. He made some good +instruments which, in his book he says he "proved" by a machine which +played them in thirds, fourths, and fifths for a continued period, thus +mellowing and perfecting the tone. We do not believe in this doctrine. +From all past experience, there can be no doubt that whatever pains or +trouble a maker may take to bring his instruments, while new, to bear +the character of old, his labour is quite useless. There is no instance +of an instrument becoming famous for its fine tone till it had attained +a good old age. Some modern makers use chemical means to mature their +violins; but this process is utterly destructive to them, as they +become quite rotten through the action of the acid after a lapse of +years. Time alone can ripen and mellow all musical instruments made of +wood, the violin and the organ especially. + + +P. + +PANORMO, VINCENZIO, born near Palermo, 1734. He appears to have left +his native place, and after a temporary sojourn in several towns came +to England about 1772, and died in 1813. He was an excellent artiste. +His instruments are carefully constructed on Cremona models, and +possess a fine tone. He made a few violoncellos which are highly +prized, their tone being extremely rich and powerful. They are of the +Stradiuarius pattern, mostly of handsome maple for the back and ribs. +All his instruments are of a good Italian quality of tone, and are +among those which are rising in value as the great masters become rarer +and dearer. + +PANORMO, JOSEPH, son of Vincenzio, also a good workman. + +PANORMO, GEORGE LEWIS, another son of Vincenzio, a celebrated bow +maker. + +PANORMO, Edward. + +PANORMO, GEORGE, probably grandson of Vincenzio. + +PAMPHILON, EDWARD, London, 1685. A very clever artiste. Made violins of +rather small model, somewhat high built, rich yellow varnish, and +sometimes double purfled. The Editor has known one of his instruments, +which was in the hands of a rich amateur, in whose house he has heard +it played and very much approved. + +PANSANI, ANTONIO, Rome, 1785. + +PARKER, DANIEL, London, 1714, is considered one of the good old English +makers. His instruments have a clear and powerful tone. A first-rate +authority calls him an excellent workman; another says though he was +otherwise good he used a bad brick red varnish. + +PASTA, GAETANO, Brescia, early in 18th Century. + +PASTA, DOMINICO, Brescia, same date. Said to have followed the Amati +patterns, and deserted the Brescian standard of Gaspar di Salo and +Maggini. + +PEARCE, JAMES and THOMAS, London, 1780. + +PEMBERTON, J., London, 1580. An English maker of considerable talent. +Is supposed to have been the maker of the instrument presented by Queen +Elizabeth to the Earl of Leicester. + +PFRETZSCHNER, GOTTLOB, Cremona, 1749. + +PFRETZSCHNER, CARL FREDERICK, Cremona. + +PICHOL, ---- Paris. + +PIQUE, ---- Paris. An excellent maker, and the master of Lupot. Spohr +recommends Pique's instruments, and Dubourg says they were given as +prizes by the French Conservatoire in the beginning of the present +Century. + +PIERRAY, or PIERRET, CLAUDE, Paris. A charming workman. His violins +have been frequently mistaken for Italian by inexperienced judges. They +are of a deep red colour and finely finished, with an excellent quality +of tone. + +PIETE, NOEL, Paris, about 1785, pupil of Saunier. An artiste well +spoken of. + +PLACK, FRANCIS, Schoenback, 1738. Considered a good maker. + +POLLUSHA, ANTONIO, Rome, 1751. + +PONS, ---- Grenoble, France, 1787. Made large pattern violins with high +model, which have no great value. + +POSSEN, LAUXMIN, Bavaria, about 1540. Made rebecs, viols, and viols da +gamba. + +POWELL, ROYAL and THOMAS, London, 1785. + +PRESTON, JOHN, York, 1789. + + +R. + +RACCERIS, ---- Mantua, 1670, believed to have been a partner with one +of the Gaglianos, and made similar instruments. + +RAF, ---- Bavaria. + +RAMBEAUX, ---- Paris, a pupil of Gand, and an excellent workman. + +RAPHAEL, NELLA, Brescia, 18th Century. This artiste was of the school +of Maggini, and his instruments are said to have the scrolls +sculptured, and to have inscriptions on the sides. + +RAUCH, JAQUES, Mannheim, 1730 to 1740. Considered to be a very good +maker. + +RAUCH, SEBASTIAN, 1742 to 1763. + +RAUCH, ---- Breslau. + +RAUCH, ---- Wurtzburg. + +Otto praises the instruments of the two brothers of Breslau and +Wurtzburg. He says they are excellent violins but have a shape and +model peculiar to themselves and entirely different to the Italian or +Steiners, but possess when uninjured a full, round and powerful tone. +If Otto had told us what instruments were like instead of what they +were not like, his book would have been more valuable. + +RAUT, JEAN, Bretagne. He was at Rennes till 1790. Made good instruments +after the Guarnerius school. + +RAYMAN, JACOB, London, 1641. The instruments of this maker were very +highly valued formerly. He is considered one of our best old English +artistes. + +REICHEL, JOHANN GOTTFRIED, Absom. An imitator of Steiner. + +REICHEL, JOHANN CONRAD, Neukirch, 1779. + +REISS, ---- Bamburg. A capital imitator of Steiner, and made excellent +instruments. + +REMY, ---- Paris. + +RENISTO, ---- Cremona, 1740, pupil of Carlo Bergonzi. His instruments +are very similar to those of his master, but rather higher modelled, +and the workmanship somewhat rougher. + +RETANTINO, ---- No particulars of this maker. + +RIMBOUTS, PETER, Amsterdam. + +ROOK, JOSEPH, London, 1777 to 1852. A good workman, who imitated +Forster. + +ROSS, JOHN, 1562. An early maker of lutes. + +ROTH, CHRISTIAN, Augsburg, 1675. + +ROVELIN, ---- 18th Century. + +RUDGER, ---- Cremona--not one of the Ruggeri Family. Made some good +instruments of the high build, and deep sides, and used fine varnish. + +RUGGERI, FRANCISCO, Cremona, 1640 to 1684. This celebrated maker is +considered to have been a pupil of Antonius Amati, and made many +excellent instruments which bear a high reputation. They rank next to +the Amati. Their quality is similar, and the style of work is easily +seen to belong to the same class. There are a few violins by this maker +of the same pattern as the Grand Amatis, which are said to surpass the +latter, having more wood in them, which was detrimental when they were +made, but which age has mellowed, and they now possess a strong and +free vibration. Many of the Ruggeris have varnish little inferior to +that of Stradiuarius and Guarnerius. This artiste ranks highest in the +family in the estimation of the connoisseur. His work is extremely +clean. The next is Giovanni Baptista, rather higher built and sound +holes rather broader. The scrolls are larger than those of Amati but of +the same type, There are many splendid violoncellos of these makers and +a few tenors. Some of the former are very large. Francisco Ruggeri is +mentioned by Spohr in his list of instruments to be sought for in the +absence of the three great makers, Nicholas Amati, Antonio Stradiuarius +and Joseph Guarnerius. + +RUGGERI, GUIDO, Cremona, 1679. + +RUGGERI, GIOVANNI BAPTISTA, son of Francisco. Brescia, 1690. Mentioned +above. + +RUGGERI, PIETRO GIACOMO. Brescia 1700 to 1720. The celebrated +violoncellist Piatti plays on an instrument by this maker, and the tone +is uncommonly fine and sonorous as all who have heard him know. + +RUGGERI, VINCENZIO, Cremona, 1700 to 1730. + +RUPPERT, FRANCIS, Erfruth, made some excellent instruments of a very +flat model, but generally omitted the linings and corner blocks as well +us the purfling. They are nevertheless esteemed in Germany. They have a +dark brown amber varnish. + + +S. + +SAINT, PAUL. Paris, about 1650. An excellent French maker. + +SALO, GASPAR DI, Brescia, dates from 1560 to 1610. This celebrated +artiste was the contemporary of the ancient Amatis, and is thought by +some connoisseurs to have been the master of Andrew. However that may +be, as there can be no certainty of the fact, the varnish on which the +great Cremonese makers established that notable reputation which +distinguishes them to the present day, bears a strong analogy to that +of Gaspar di Salo, however they may have derived it. In this respect, +also, Gaspar excels Maggini, his pupil and follower, who was evidently +not initiated into the secret of making that excellent varnish which +characterises his master. + +The pattern of the instruments which the two early and famous chiefs of +the Cremonese and Brescian Schools built, is however totally different. +Those of Gaspar are large, massive, double purfled, and with large +sound holes. Andrew is noted for a small pattern, and if he studied in +the Brescian workshop, he discarded the style he found there (varnish +excepted) and aimed at altogether a different object in his own +productions. Those of Gaspar di Salo are constructed with capacity and +strength to produce a considerable volume of tone. The Cremonese +Artiste on the other hand, made instruments which, both in their +proportions and adjustment, were especially adapted for the production +of a sweet but not powerful tone. Gaspar's instruments seem to +foreshadow in their tone and power, those of Stradiuarius and Joseph +Guarnerius, while the Amatis seem generally to have been contented with +producing a tone of surpassing sweetness. Gaspar also succeeded in +giving to his productions that fine tone which seems to have been +especially aimed at by the early makers, but as he also from the size +and strength of his instruments, produced more tone, he may be +considered far the superior of Andrew, the first of the Amatis. It is +on this account that in the present day, Gaspar di Salo is esteemed as +the greatest maker of his time, and connoisseurs value his instruments +accordingly. + +There are not many violins by this great master, but of tenors and +double basses more. These are very fine and rich in tone. He was not +however famous for giving so very high a finish to his works as was +afterwards attained at Cremona. His violins are described as rather +long, and with a gentle elevation from the sides to the centre. The +sound holes straight and large, well cut and parallel, and double +purfling. The varnish is generally of a rich brown. These are the chief +external characteristics, but they have always possessed that "which +passeth show," and commanded the esteem of the dilettanti in that rich +quality of tone which is the first essential in a perfect instrument. + +Signor Dragonetti, the greatest double bass player of our day, used one +of Gaspar's instruments, which was presented to him on account of their +admiration of his wonderful talent, by the order of the Convent of St. +Mark at Venice. Shortly before his death the Duke of Leinster offered +him £700 for it, a princely sum, but it was refused, as Dragonetti did +not feel justified in parting with it, and he ordered in his will that +it should be returned to the convent at Venice, which was accordingly +done. Ole Bull has a very celebrated violin of Gaspar's make. In the +first place, it was sculptured with Caryatides, by the great Florentine +artist, Benvenuto Cellini, at the special command of another eminent +person, Cardinal Aldobrandini, who presented it to the museum of +Inspruck in the Tyrol. In 1809 that city was assaulted by the French, +the museum was plundered, and this violin carried to Vienna, where it +became the property of another notable person, the Councillor Rehazek, +who was famous for his collection of ancient musical instruments. He +left it by will to another still more celebrated person, Ole Bull, the +distinguished Norwegian violinist, by whom it was exhibited in London +in 1862, and with whom it still remains. To our description of Gaspar's +instruments we should add that his tenors and double basses are of a +rather broader form than his violins. + +SALLE, ---- Paris, 1800. This artiste was an excellent workman, and +famous also as a judge of old instruments. + +SANONI, GIOVANNI BAPTISTA, Verona. + +SANTI, GIOVANNI, Naples, 1730. + +SANCTUS SERAPHINO, Venezia, about 1730. An excellent workman, whose +instruments possess almost the beautiful finish of Stradiuarius. He +used handsome wood of small figure, and his varnish is often beautiful +in the extreme. The model however approaches that of the Steiner +school, and the tone is therefore generally wanting in fullness and +roundness. He made also a few violoncellos with similar +characteristics. + +SAPINO, ---- Cremona. Pupil of Guiseppe Cappa, made instruments after +the style of the Amati. + +SANZO SANTINO, ---- Milan. + +SAUNIER, ---- born in Lorraine 1740. An excellent artiste whose +instruments are reckoned among the best of the French school. + +SCHEINLEIN, MATTHIAS FREDERICK, Langenfeld, born 1710, died 1771. + +SCHEINLEIN, JEAN MICHAEL, Langenfeld, born 1751. Made instruments which +are said to be good but not strongly built. + +SCHMIDT, ---- Cassel, mentioned by Otto as living in 1817, and praised +by him as an excellent maker. His instruments are of the flat model of +Stradiuarius but have the edges larger and the purfling further from +the sides. + +SCHONGER, FRANCIS, Erfurth, made high modelled instruments, but of poor +tone. + +SCHONGER, GEORGE, Erfurth, son of the above, modelled his instruments +in the Italian style and produced some very superior examples. + +SCHORN, JACOB, Salzbourg. + +SCHORN, JOHANN, Inspruck, 1688. + +SCHOTT, MARTIN, Prague. + +SHAW, ---- London, 1656. + +SIMPSON, JOHN, London, 1790. + +SIMPSON, J. and J., son of the above. + +SIMON, ---- Salzbourg, 1722. + +SIMON, ---- Paris. + +SMITH, HENRY, London, 1629. This may be a celebrated maker of viols, +&c., mentioned by Mace, 1676, as one of the best then known. + +SMITH, THOMAS, London, 1756 to 1799. This well known maker was a pupil +of Peter Wamsley. His violoncellos are of the Steiner model, and some +of them possess considerable power, and were formerly highly esteemed, +but they are now considered to be deficient in quality and wanting in +the rich fine tone of the Italian artistes. Notwithstanding, they are +still favourites in the country; the editor knows two of his +violoncellos which have been respectively sold for £30 and £40 within a +few years. + +SMITH, WILLIAM, London, 1771. + +SOLOMON, ---- pupil of Bocquay, a good French artiste. + +SPEILER, ---- 18th Century. + +STADELMANS, DANIEL, 1744, Vienna. + +STADELMANS, JOHANN JOSEPH, Vienna, 1784. Fame speaks very highly of +this maker, who closely imitated Jacob Steiner and ranks next to him +among the German makers. + +STEINER, JACOB, of Absom in the Tyrol, born about 1620, date of death +not known, but at about the age of seventy retired to a Convent. + + See separate chapter on this celebrated artiste. + +STOSS, FRANCIS, Bavaria. + +STORIONI, LORENZO, Cremona, living in 1782, said to be the last of the +great Cremona makers. Forster says his instruments resemble those of +Joseph Guarnerius, and that Vieuxtemps' solo violin in 1861, was by +this master, and was very much admired. His violoncellos are very +powerful. The author knows a violin which an authority says is by +Storioni, but which the owner considered to be by Antonius and +Hieronymus Amati. The same authority says there are only two in England +of this make. It possesses a splendid fine full and rich tone, +beautiful wood for the belly, but the back rather plain, varnish deep +yellow with reddish tinge. Workmanship not very fine. We mention those +little known artistes' instruments when we have seen them, because they +are now rising in value and are esteemed as likely to afford good +instruments to those who cannot afford those of the three great +masters. + +STRADIUARIUS, ANTONIUS, Cremona, born 1644, died 1737. + + See separate chapter for a fuller account of this celebrated + artiste. + +STRADIUARIUS, HOMOBONO, Cremona, son of Antonius; made instruments +under the direction of his father, which were signed "_Sub disciplina +A. Stradiuarius._" + +STRADIUARIUS, FRANCISCO, Cremona, another son of Antonius, and signed +in the same manner as his brother. + +STRAUBE, ---- Berlin, 1770. Constructed after the Italian model. His +instruments are scarce and good. + +STRNAD, GASPAR, Prague, 1781 to 1793. This maker bears a good +reputation. + +STURIONUS, LAURENTIUS. See Storioni. + +SURSANO, SPIRITUS, Coni, 1764. + + +T. + +TAYLOR, ---- London, 1770 to 1820. + +TECHLER, DAVID, first established himself at Salzburg, and afterwards +went to Venice, where the story goes that he was so persecuted by other +makers that he fled to Rome, about 1706. He made some excellent and +beautiful instruments. They have fine yellow varnish and resemble those +of the Tyrolean school of Albani and others. Lindley had a violoncello +by this maker which was very fine, and powerful in tone. Another was +sold a few years ago by auction, for £50. We have seen a violin of this +maker, with very beautiful wood and highly finished workmanship, the +tone of which was very pure and polished. + +TENZEL, ---- One of our catalogues contains a violin by this maker, but +we have no particulars. + +TEODITI, JEROME, Rome, 1750. + +TESTATOR, IL VECCHIO, Milan, about 1520. A claim has been made for +this maker that he was the first to give the name of violino to the +reduced viol. + +TERRESIO, ---- An Italian who died in 1853, was a most eminent judge of +instruments. His whole existence seemed to be centered in his art, and +his eye became so practised that when travelling to discover old +instruments, he took them all to pieces, sides, backs, heads, and all +parts, forming a conglomerate mass of pieces of valuable violins. The +object of so doing was to avoid the customs' dues which are of course +heavy on old instruments. When he reached his destination, he would +replace them without the aid of a single mark. After his death his +house, or rather his hermitage, was visited by connoisseurs, who found +it strewed with different parts of instruments, some being found in the +most out of the way places. He had the major part of all the great +instruments through his hands. Among other valuable instruments found +in his house after his death, was a Gaspar di Salo double bass and a +Bergonzi double bass--the latter unique. Both these instruments are now +in Mr. Hart's possession. The Gaspar di Salo is very perfect and its +tone is unsurpassed. The Bergonzi is quite a curiosity, from its being +the only one of his make known. He visited this country during the +Exhibition of 1851, and was deeply gratified upon seeing so many high +class instruments among the dilettanti here, and the taste and zest the +English have in forming collections. + +TESTORE, CARLO GUISEPPE, Cremona, about 1700. This artiste made some +very good instruments after the Guarnerius pattern. The wood of the +backs of his violoncellos is mostly pear tree, and the bellies are of +splendid wood. The tone is very powerful, but not always so smooth as +might be wished. This is another rising name. The celebrated double +bass player Bottesini, uses one of this maker's instruments which +possesses a splendid tone, and is sufficient to stamp Testore as an +excellent maker. If any of his smaller instruments possess as good and +fine a tone as this double bass he must be ranked among the best +Italian artistes. Use will probably wear away the want of smoothness at +present complained of in some of them. + +TESTORE, CARLO ANTONIO, Milan, about 1710 to 1730. + +TESTORE, PAOLO ANTONIO, Milan, about 1720 to 1740. Both the above have +the reputation of being good makers. Of these artistes we have a note +which states that their model was flat, resembling Joseph Guarnerius in +shape, but the varnish very inferior and void of colour. + +THOROWGOOD. HENRY, London, the 18th Century. + +TOBIN, ---- London, 1800 to 1836. This maker cut most beautiful heads, +and his work was neatness in the extreme, so much so indeed as to rob +it of decided character. + +TONINI, FELICE, Bologna. + +TONINI, ANTONIO, Bologna. + +TONINI, CARLO, Bologna. + +TONINI, GUIDO, Bologna. + +We have no special information on these makers, but they are generally +ranked among the good Italian makers. + +TONONI, CARLO, Venezia, 1699 + +TONONI, GIOVANNI, Venezia, 1699. The instruments by Tononi are worthy +of the highest praise. They are however very scarce. They are of the +large pattern, and flat model, with good varnish, and everything about +them, including a superior tone, to entitle them to be ranked as +excellent instruments. + +TORING, ---- London. + +TRUNCO, ---- Cremona, 1660. + + +U. + +URQUART, THOMAS, London, 1650. An excellent old English maker. He used +beautiful varnish (for English) and made many small violins which are +useful to young players, being old and the price reasonable. + + +V. + +VALLER, ---- Marseilles, 1683. + +VERON, ---- Paris, about 1725. Highly esteemed in France. + +VIARD, NICHOLAS, Versailles, about 1730. + +VIBRECHT, GYSBERT, Amsterdam, 1707. + +VIMERCATI, PAULO, Venezia, 1700. + +VOGEL, WOLFGANG, Nuremberg. + +VUILLAUME, JEAN, 1700 to 1740. Worked with Straduarius, and made some +good instruments under his own name. + +VUILLAUME, JEAN BAPTISTE, Paris. Now living. Famous for his copies of +Cremonese instruments. This artiste obtained by personal researches in +Cremona the particulars of the life of Stradiuarius, which Fetis has +embodied in his book. + + +W. + +WAGNER, JOSEPH, Constance, 1733. + +WAMSLEY, PETER, London, 1727. A celebrated artiste, who made many +excellent instruments. Those with the dark brown varnish are the most +valuable. They were mostly of the Steiner patterns. Mr. J. Rodgers, +organist of Doncaster Parish Church, has a very beautiful tenor by this +maker, which is built in the shape of a double bass, and with very +peculiar sound holes instead of the usual S S. + +WEAVER, SAMUEL, London. + +WEISS, JACOB, Salzburg, 1761. + +WENGER, GREGORIO FERDINAND, Salzburg, 1761. + +WEYMANN, CORNELIUS, Amsterdam, 1682. + +WIGHTMAN, GEORGE, 1761. + +WITHALM, LEOPOLD, Nuremberg, 1765 to 1788. Otto says this maker's +instruments are worthy the attention of the virtuoso, and are extremely +like those of Steiner, and difficult to distinguish from them. + +WISE, CHRISTOPHER, London, 1656. + +WORNUM, ---- London, 1794. + +WRIGHT, DANIEL, London, 1745. + + +Y. + +YOUNGE, JOHN, London, 1724. + + +Z. + +ZANETTO, PEREGRINO, Brescia, about 1540. A maker of rebecs, violas, and +viols da gamba. + +ZANTI, ALESSANDRO, Mantua, about 1770. Reckoned among the good Italian +makers. + + + + +BOW MAKERS. + + +It will not be considered out of place in the course of a biographical +account of the principal makers of violins, to give a short notice of +some eminent persons without whose labours, the violin itself would +never have been developed as it has been, to wit, violin bow makers. +Much of the elegant finish and refinement of tone and style which +distinguish the great players of the violin, if not due altogether to +the bow, by which the tone is produced, is at all events greatly aided +by it. A Paganini will have a Tourte bow, and so will every other great +master, if he can get one. There must be something therefore in the +bow, as well as in the violin, more than meets the eye of a casual +observer. We have not here space to enter into the subtle niceties +which distinguish the bows of Tourte of France, of Dodd of England, and +others. Suffice it to say that whoever boasts of an excellent violin +should match it with a superior bow. One is incomplete without the +other. There are many excellent makers, but we must content ourselves +with briefly noticing the most prominent. Suffice it to say in the way +of advice and warning that whether the amateur buy an old or a new bow, +let him see that its flexibility, which is its great merit, is perfect, +and that it is still strong though light and straight. Mr. Bishop in +his edition of Otto says the finest bows are those of Vuillaume! He +does not even mention any others. Tourte and Dodd do not deem to be +worthy his remembrance! There must be nevertheless something in the +bows of these makers which commands great respect, for any performer of +skill will give (if he can get one, that is the difficulty,) ten or +twelve times the amount for a perfect Tourte, which will buy a +Vuillaume! There is no doubt that Vuillaume manufactures good bows--but +to rank them highest is so palpable a misrepresentation that we have +thought it necessary to enter a protest against it. + +TOURTE, FRANCIS, Paris, born 1747, died 1835. This is conceded, by all +the best judges, to be the greatest maker we have ever known, in fact +the Stradiuarius of the bow. His father and grandfather were +instrumental in improving the bow, but Francis Tourte brought it to the +greatest perfection. His bows are light and flexible, yet straight. +They are highly finished and made of the finest Brazil wood. He himself +sold his bows mounted with gold, at 12 louis, (£11 4s. 6d.) each; with +silver 3-1/2 louis (£3 5s. 6d.) It is said the reason of his charging +so much was that he found so great a difficulty in getting wood fine +enough to satisfy his critical judgment, and that he also made no +scruple to break any which did not reach his standard of perfection; he +was therefore compelled to charge those sums for such as he permitted +to go forth. Whoever wishes to match his cherished Cremona with an +equally fine bow will get a Tourte if he can. + +LUPOT, of Paris, was another excellent maker. His bows are not quite so +light as those of Tourte, but they are in all other respects highly +esteemed. + +DODD, EDWARD, born at Sheffield, and died in London, at the age of 105 +years, in 1810, was distinguished as an improver of the bow in England, +about the same time that the Tourtes were founding their great +reputation in France. The great maker of this name, however, and who +has achieved the honourable title of the Tourte of England, is + +DODD, JOHN, the son of Edward. The best bows of this maker are highly +esteemed, and partake of all the excellencies of those of Tourte. Some +of them, however, are rather short, which is perhaps their only defect. + +After these come the bows of Panormo, Pecatte, Tubbs, Vuillaume, and +other English and Foreign artistes, whose best bows are much esteemed. + +As between old and new bows, we would observe that in general modern +bows are nearly us useless as new violins. The wood of which most of +them are made is very inferior to that of the older artistes, and there +is always a doubt whether they will stand continued use and remain +straight and flexible. With an old bow, if it is straight, there is no +fear, with ordinary care, of its remaining so. A good bow is as +important as a good violin. + + + + +THE GREAT CREMONA MAKERS. + + + + +THE AMATI FAMILY. + + +Cremona! Who has not heard of this now celebrated Italian city? And yet +but for a fiddle maker it is very probable indeed that it would never +have been known beyond the circle of its own local interests and its +relations with neighbouring cities. Now, however, its name is a spell +to conjure with. A Cremona Violin is, to a rich amateur, a loadstone +that is sure to attract the shining metal from the depths of his purse. +Seven hundred pounds have been given for a Guarnerius Violin! Think of +that ye dilettanti who are so proud of your pictures and marbles! Even +the poor fiddler has his Mecca far away, and it is called Cremona. Like +pictures, the Cremona Violins are real works of art, and like them +also, were once to be had for trifling sums. Cuyps and Paul Potters, +Stradiuarii and Guarnerii were once to be had for three or four pounds +each that are now worth as many hundreds. A Cremona instrument has even +been considered a worthy gift to pass between crowned heads, Pope Pius +V. having presented a violoncello by Andreas Amati to Charles IX. of +France. Fleeting however are the honours of time! Cremona has lost its +most famous names from among its citizens, and with them its most +distinguished characteristic. For nearly a hundred years no maker of +great skill has arisen to dispute the glory of the place with the +Amati, Stradiuarius, and Guarnerius, by whom the fame of Cremona will +be carried to the latest generations. + +It is now about three centuries since there flourished at Cremona its +first great violin maker. Andreas Amati appears to have been born there +in 1520, and died in 1580. The family was an ancient one, and is +mentioned as early as 1097 in the records of the city. It is a +remarkable fact, and shows in a strong light the difference of manners +and customs in different countries that both Amati and Stradiuarius +seem to have been of ancient and honourable families, and yet +notwithstanding their adopting an avocation which would in England be +thought to tarnish an old family name, they lived and died respected +and honoured by their fellow citizens. There is no account of how or of +whom Andrew Amati acquired the art of violin making; but it is clear +that by some means he had attained to a considerable amount of skill. +Under the head of Gaspar di Salo, we have however hazarded a conjecture +that he had been to Brescia for the first principles of the art, but +that he had adopted little that he found there except the varnish and +the general routine of the workshop. Some of his instruments are +described as beautifully made, and to have amber varnish of excellent +quality of a deep rich yellow tinted with brown or light red colour. +His violins appear to have been chiefly of the small pattern and high +model. The backs are mostly cut the reverse way of the grain to the +present rule, forming what are now termed "slab" backs. They possess a +delicate graceful tone of wonderful sweetness, which has also been more +or less the chief characteristic of the other makers of this family. +With reference to this peculiarity, an eminent writer observes that in +the times in which the Amati lived, the tone was not required to be of +that powerful character which modern players demand, and that such an +immense tone as many later instruments possess would not then have been +tolerated. This is very probable, and may account also for the elevated +model which was adopted both by Andrew and some others of the Amati. +This model conjoined with their beautiful workmanship and generally +small size, combined to produce that elegant delicious sweet tone which +of all other makers, the Amatis especially possess. They also, all of +them, made a greater number of instruments of the smaller size than +what is known as the grand pattern, no doubt because the tone produced +by them was found generally sufficient. They were also made to carry a +much lower bridge and a lighter bass bar than are now used, and the +proportions were arranged accordingly. On this point M. Maugin, author +of a Treatise, entitled Manuel du Luthier, makes some remarks which we +have translated as pertinent and valuable. Speaking on the subject of +repairing old instruments, he says, "There is no violin maker now, who +does not put, whether in the instruments he has to repair, or in those +which he makes, a much stronger bar than those which were employed by +the great makers themselves. They must have felt the necessity of doing +this or they would not all act in this way. Now what is the reason of +this mode of working? I have seen in the hands of rich amateurs, +several instruments which have been preserved with a religious care, +absolutely in the form which Amati and Stradiuarius had given to them. +The bridges of these violins had only an inch and a fraction of height +above the belly, while now-adays bridges have a height of an inch and +(say) three-eighths. Now, the belly being put into vibration by strings +at a great distance from it, and these strings vibrating by themselves +more at the distance of fourteen lines than at twelve, it has been +found necessary to strengthen the bar which, without that, being drawn +into too great a vibration, would give to the strings sol and re a +cottony sound which would have quite spoiled the goodness of the +instrument." M. Maugin does not say why higher bridges are now used, +but there is no doubt on this point. All judges concur that the pitch +having been so greatly raised since the old instruments were built, a +stronger bar has been found necessary, to counterbalance the increased +tension of the higher bridge. + +Andrew Amati gave to his instruments a still more decided swell than +the later members of his family, his successors no doubt finding a +diminution in the rise of the model to produce a fuller if not a +sweeter tone. This principle was gradually carried forward till it +culminated in Antonius Stradiuarius, who brought it to perfection and +demonstrated that the flat model produced the greatest vibration and +consequently the most powerful tone. Otto in his celebrated work on the +Construction of the Violin, does not mention Andrew Amati, but says +that those of Hieronymus were the oldest Cremona Violins. This is one +of the mistakes in his original work which renders it comparatively +useless. Connoisseurs and collectors have dissipated those errors, and +we now know to a certainty that to Andrew Amati of Cremona, and Gaspar +di Salo of Brescia, (of whom also Otto was ignorant,) we owe the +establishment of these two great schools of violin making. From their +great age, the instruments of these two great makers are now very rare. +They are most of them about three centuries old, and though they appear +to have made a considerable number, they have through the influences of +time and accident gradually disappeared. Some of Andrew Amati's +instruments are still left however in the hands of dilettanti and +collectors, and retain that distinguishing characteristic of delicious +and sympathetic quality which has been the chief charm of all the Amati +productions. Andrew had a brother called NICHOLAS, of whom little +appears to be known. + +After ANDREW, as great makers, come his two sons ANTONIUS and +HIERONYMUS, who flourished from 1550 to 1634. ANTONIUS made many small +pattern violins, which possess in the highest degree the distinguishing +characteristic of the family--a sweet but not powerful tone. He also +constructed some of a larger pattern. ANTONIUS and HIERONYMUS +conjointly built a number of large pattern violins, which are of high +finish and beautiful wood. They are very highly esteemed, and a well +preserved example will command a large price. NICHOLAS was the greatest +artiste of this deservedly celebrated family, and many instruments +still exist to attest the excellence of his workmanship and his +knowledge of the proportions requisite to produce a fine tone. He also +built many small pattern instruments, but he appears to have almost +anticipated Stradiuarius and succeeded in producing some instruments of +the grand pattern which possess a very powerful as well as sweet tone, +and are considered to rival in every respect the famous instruments of +that great master. Some of his violins possess a distinguishing mark in +a rather abrupt rise in the centre. Otto describes it as a "sharp +ridge." It is not exactly so, but is still very different to the +gradual swell on the other Cremona instruments. His best violins, which +are known by the title of Grand Amatis, are those which approximate +closely to the very best instruments of Stradiuarius and Guarnerius. +There can be no doubt therefore, that in these fine specimens of his +skill, he had hit upon the same principles which afterwards guided +those distinguished artistes in the construction of those most renowned +violins which now command the admiration of violinists throughout the +world. + +We have said that the chief characteristic of the Amati violins is a +sweet but not powerful tone. It is necessary to qualify and explain +this remark. From their excellent construction and beautiful wood, +which has evidently been selected with the greatest care for its +resonant quality--their age and long and careful use, their tone is +divested of all extraneous properties, and become fine and pure. +Notwithstanding therefore their original small tone, when fitted with +the modern appliances of larger bars and higher bridges, some have been +found quite competent for all purposes. In 1861 the celebrated +instrument by Antonius Amati, which was presented by George IV. to +Francois Cramer, was sold by auction, and it was stated in the +catalogue that that great performer always led the Ancient and other +concerts on that instrument. The fact no doubt is that it is the fine +and pure quality of tone that tells, arising from age, constant use, +and beautiful woods. They seem to be now divested of all extraneous +characteristics and are become refined and ethereal, and are in fact +the nightingales of the stringed tribe. That the Stradiuarius and +Guarnerius have equal quality combined with more power arising from +their flatter model is undoubted, and therefore they are the most +valued. It is believed that the finest specimen of the skill of +Nicholas Amati is in the possession of Ole Bull. It is of the large +pattern, and possesses a magnificent tone, as many of our readers have +no doubt heard. + +We think we shall please our readers by inserting verbatim the +following excellent description of the Amati instruments, furnished to +us by an able and experienced connoisseur. He says:-- + +"NICHOLAS AMATI and the BROTHERS AMATI. The tone is with few exceptions +sweet in quality and seldom powerful, but admirably suited to the +amateur. The workmanship is of the highest order, which conduces to +this result. The wood must have been selected with great judgment. The +bellies are nearly always of a fine reedy nature. Sometimes the backs +are whole backs (in one piece), at others in two, more often the +latter. The varnish of a beautiful amber colour, and there are a few +instances of fine red. The sides generally rather shallow, heads of +exquisite form and well defined. The care bestowed upon them alone +bespeaks the hand of the artist. There are several magnificent tenors +and violoncellos, and perhaps three or four double basses. The tenors +are sometimes seen of large size. The Amati family made several sets of +instruments for foreign courts, which bear their particular arms, +mostly beautifully painted on the backs. The violins known as Grand +Amatis are the best, and were made by Nicholas Amati. They take their +name from their size. He also made many long pattern instruments, and +also several three quarter violins, which have conferred a great boon +upon juvenile violinists who are able to purchase them, by giving them +an opportunity of early becoming familiar with the irreproachable +Italian quality of tone." + +In reference to the remark made in the preceding paragraph, it is +recorded that a set of instruments, no doubt one of those therein +alluded to, was made for Charles 9th of France by Andrew Amati, +consisting of twenty-four violins, six violas, and eight basses. These +were lost from Versailles in 1790, and have not been recovered, except +two which M. Cartier discovered some years since. Notwithstanding that +Andrew Amati was the first maker of any note, except Gaspar di Salo of +Brescia, it is clear that he had attained an astonishing amount of +skill, as there is an account of a violoncello which was offered by +auction at the sale of the celebrated Sir Wm. Curtis's instruments by +Mr. Musgrave, who in the catalogue stated that "a document was given to +the proprietor when he purchased this instrument, stating that it was +presented by Pope Pius 5th to Charles 9th of France for his chapel. It +has been richly painted, the arms of France being on the back, and the +motto 'Pietate et Justitia' on the sides. The tone of this violoncello +is of extraordinary power and richness." Mr. Forster supposes this to +have been one of the instruments mentioned before, but that would +destroy the value of the document given to Sir William, because if +Andrew Amati made it for Pope Pius 5th, who presented it to Charles 9th +it could not have been one of those made by him expressly for that +monarch. It is clear however that the tone was both grand and fine, and +therefore the first of the Amatis must have attained great ability in +his art. We have before mentioned the celebrated Nicholas Amati violin, +dated 1679, formerly the property of the same distinguished collector, +Sir W. Curtis, and which has since been sold by Mr. Hart to the great +violinist Ole Bull. This is considered the finest specimen of the Amati +skill and was thus described in the catalogue of the sale--"This is +justly considered as one of the most beautiful and finest instruments +in the WHOLE WORLD." The Count de Castelbarco of Milan, possessed a +quartett of instruments by Nicholas Amati, which have since been sold +in London (see the article on Stradiuarius.) M. Fetis describes these +as _admirable_, but as our readers will see, the English connoisseurs +do not appear to have coincided generally with the critic on their +quality, as only one of them produced any great price. There is a +splendid grand Amati in the hands of an amateur in Derbyshire, which +formerly belonged to Mr. Hankey the banker, for whom it was purchased +with others by Viotti, who dedicated several of his compositions to +him. This instrument possesses in an eminent degree the admirable +qualities of the Amati tone, with also considerable power. Another of +the same set in the same hands is a splendid Stradiuarius of the large +pattern with a magnificent tone. There are many fine examples of the +different makers of this celebrated name in this country. English +connoisseurs suffer those of no other nation to excel them in their +collections. + + + + +ANTONIUS STRADIUARIUS. + + +A most interesting account of Antonius Stradiuarius, who is generally +thought to be the greatest maker of the violin--has been published by +M. Fetis, and translated into English by Mr. Bishop of Cheltenham. In +addition to records of his family, which was an ancient one in Cremona, +obtained by M. Vuillaume in his persevering labours in search of +information, and which he placed at the service of M. Fetis--the latter +enters deeply into what we may call the science of violin making, and +presents us with many interesting and valuable experiments which have +been made on fragments of the great instruments, in order to ascertain +the exact principles which enabled Stradiuarius to build with such +undeviating and brilliant success. The book is well worthy the perusal +of all amateurs of the violin. + +ANTONIUS STRADIUARIUS was born in Cremona, in 1644, and died there in +1737, having lived in the peaceful exercise of his art to the great age +of ninety-three. There is a violin still extant which bears his +signature and proves this fact. In the early part of his life, he was a +pupil of Nicholas Amati, and some of his early productions bear his +master's name, as seems to have been the custom. These instruments have +the Amati characteristics, and have some of the backs cut the contrary +way of the grain, forming what are known by the name of "slab" backs. +He afterwards enlarged his model and adopted a flatter pattern, and +arrived at the greatest perfection about 1700. From that period to +1725, everything he made bore the impress of the great master. In +shape, the cutting of the S holes, the varnish, and the accuracy with +which all the parts were adjusted in harmonical relation, from that +time he excelled all who had gone before him, or who have since +attempted the difficult task of vying with him. All these instruments +are of the flat pattern, which is now proved to be best adapted for the +production of a rich, deep and powerful tone. It would appear that the +more elevated model used before his time, although it allowed of very +fine quality of tone, tended to prevent that strong vibration which is +the cause of great tone. M. Fetis insists that the violins of +Stradiuarius were as good and fine in quality of tone when made as they +are now, contrary to the established opinion that time is necessary as +well as use for refining and perfecting all violins. He gives an +instance of a violin made by Stradiuarius, now in Paris, which he +states has never been played upon--but we must beg to doubt this fact. +Though we are ready to admit that the careful adjustment of the +different parts and the selection of fine wood, would tend to perfect +the tone of these instruments, much sooner than others less carefully +fashioned, yet in the instance he brings forward in support of his +theory, it does not appear quite so clear that the violin never had +been played upon. On the contrary, there are many years unaccounted +for, in his description of it, during which it might have undergone +considerable use. It appears almost impossible that while in the hands +of various possessors, so fine an instrument should have been suffered +to lie idle in a cabinet, as though it were a picture to be looked at, +but not touched. From its condition, however, it is clear that it had +always been in hands that prized it, for he describes it as having +quite the appearance of a new instrument. In this respect, therefore, +we must still adopt the opinion of the most eminent judges, including +that recorded by Spohr, that it requires both time and use to perfect +all instruments of the violin class. It would appear moreover that this +has always been a settled belief, for even Mace in his "Music's +Monument," published in 1676, says "We chiefly value old instruments +before new for by experience they are found to be far the best." As to +the condition of this instrument which Fetis states to be quite unique +for its perfection and apparent newness, our countryman, Mr. Gardiner, +in his interesting work, "Music and Friends," says that Mr. Champion, +an amateur had given 300 guineas for a Stradiuarius violin and tenor, +of a beautiful yellow colour inclining to orange, and which appeared to +have been untouched since the day they were made. Here then in this +country is a double instance of the same fact as to condition, for +which M. Fetis claims for the Paris instrument the title of unique. The +fact is that these fine violins have for many years been so highly +appreciated that their possessors have taken the most extraordinary +care to prevent their being damaged or disfigured, and there are many +instances of violins in equally perfect condition. + +After 1725, at which date Stradiuarius was 80 years old, his work lost +some of its characteristic excellence though still of great merit. His +sons, Homobono and Francesco, now assisted him, but he appears still to +have signed them, occasionally adding to their names however, the words +_sub disciplina A. Stradiuarius_. He had many pupils, the chief and the +best of whom was Carlo Bergonzi. There were also Gobetti of Venice, +Guadagnini of Cremona, Michael Angelo Bergonzi, and others mentioned in +the dictionary. Fine examples of the works of his pupils are now +becoming very valuable, and are well worthy attention. + +Stradiuarius made a few instruments inlaid with ebony and ivory round +the edges. There is a quartett of them, all bearing the same date 1687. +One is in the collection of Charles Plowden, Esq.; the other violin +belongs to a gentleman in Staffordshire; the violoncello belongs to the +Queen of Spain, and the tenor was once the property of Sir Wm. Curtis. +This is a very curious and remarkable set of instruments, very highly +finished and in fine preservation. There is also another violin inlaid +which belonged to the late Dr. Camidge of York, bearing date 1713. A. +Fountain, Esq., has in his possession, the last violin which +Stradiuarius made. This instrument is known as the Habenock Violin from +the previous owner's name from whom Mr. Fountain had it. Charles +Plowden, Esq., has a quartett of splendid instruments by Stradiuarius, +of which one violin is of the Grand Pattern, dated 1719; another dated +1711; which are perfect in model and preservation, and both +first-class; the third is a remarkable violin, with rich golden +varnish, dated 1709--a perfect instrument, which has been twice sold +for £600, was formerly the property of Emiliani and is still known by +his name. The fourth violin is the inlaid instrument mentioned above. +Besides these, Mr. Plowden possesses a magnificent violoncello by +Stradiuarius--a remarkable specimen both for beauty and tone; and also, +four violins by Joseph Guarnerius which will be mentioned under the +head of that master. + +There is in Derbyshire a very fine Stradiuarius which was purchased by +Viotti for his friend Mr. Hankey, from whom this and the Amati +mentioned elsewhere went to his brother, a distinguished amateur, who +died some years ago. Wm. Howard, Esq., of Sheffield, has a fine +Stradiuarius violin, of the most beautiful yellow varnish, splendid +wood, fine tone, and perfect condition, which formerly belonged to +Salomon. + +We may also mention here that the late eminent violinist Ernst, played +upon a very fine Stradiuarius Violin which was presented to him by A. +Fountain, Esq., an ardent admirer of that famous player. Joachim also +uses a Stradiuarius. Servais, the great French performer, uses a +Stradiuarius Violoncello, which is said to be the handsomest known, and +which cost him 500 guineas. + +The value of the best productions of the genius of Stradiuarius is now +very great. Mr. Betts, of London, had one for which he refused the +enormous sum of £500, and Dragonetti also refused £800 for a double +bass. The highest price, £600 however was given twice for the violin +now belonging to Mr. Plowden. But even such prices have been exceeded +by that of the celebrated King Joseph Guarnerius mentioned elsewhere, +which realised £700. It must not be understood however that such prices +are the rule, for it is only for extraordinary specimens that any such +great sum can be obtained. Excellent instruments are frequently sold +for much smaller amounts, and it must also be remembered that none but +those made from about 1700 to 1725 realise such enormous sums. His +earlier productions, which resemble those of his master, and which are +known by the name of Stradiuarius Amatis, can be had occasionally for +moderate prices. An undoubted violin of any period of this great +master's make, is well worthy the attention of the virtuoso. They are +all good, but the grand pattern of this wonderful genius, possessing +equal sweetness with greatly increased power, are only now to be had by +connoisseurs of unlimited means. + +As an illustration of the more moderate prices which these fine +productions command, we think it may interest our readers to give here +the result of a public sale of Cremona instruments belonging to the +Count de Castelbarco of Milan, a distinguished amateur. M. Fetis in his +work states that the Count possessed "two quartetts of Stradiuarius, +very remarkable instruments; another of Joseph Guarnerius; a fourth of +Nicholas Amati, and lastly a quartett of Steiner," of which he +specially particularises the Tenor as "being a model of perfection as +to workmanship, and the tone of which is of extreme beauty." These +instruments were sold by auction by Messrs. Puttick and Simpson, on the +26th June, 1862. We quote the report of the "Times," by which it will +be seen that our English connoisseurs did not appreciate them so highly +as M. Fetis. The "Times" did not mention the Guarnerii and the Steiner +at all, we presume because the prices were nothing remarkable. + + LOT. + 1 Violin by Stradiuarius, 1712 £ 70 + 2 Violin by Stradiuarius, 1699 £ 56 + 5 Tenor Violin by Stradiuarius, 1715 £100 + 6 Violin by Stradiuarius, 1701 £135 + 8 Violin by Stradiuarius, 1685 £135 + 9 Violin by Stradiuarius, 1713 £ 90 + 12 Violin by Nicholas Amati 39 gs. + 13 Violin by Andrew Amati 36 gs. + 26 Violoncello, Stradiuarius 1697 £210 + 28 Violoncello, Stradiuarius 1687 £115 + 30 Violoncello, Nicholas Amati 1687 £130 + 31 Original Letter by Stradiuarius £ 8 + +At the same sale a Grand Amati Violin, jewelled at the corners, £60; +Violin by Guarnerius, 38 guineas. + +In addition to the above we may mention that the Stradiuarius Violin, +which once belonged to a member of the Medici Family, was sold by +auction a short time ago, at the Hotel de Drouet in Paris, for 5,745f., +about £230, an excellent price for a Parisian connoisseur. We have +already mentioned many fine instruments by Stradiuarius which are in +the hands of connoisseurs and performers. We will now mention a fact +which in the estimation of all true lovers of these fine violins is to +be greatly regretted. It is not the only instance, as probably our +readers are aware that the celebrated Guarnerius Violin of Paganini, is +now locked up in a museum at Genoa. There is at a museum in the city of +Florence, a quartett of beautiful instruments by Stradiuarius, +consisting of two violins, tenor, and violoncello, which were presented +to the institution by an Italian Nobleman, whose ancestors purchased +them from the master himself. These instruments are most beautiful and +in the highest preservation. But of all other curiosities, Cremona +Violins are the most unsuitable for a museum, because they lie there +dead, and are no more than names. The soul of music which is embodied +in them is imprisoned within wood and crystal, and is no more heard of +men. Let no one leave his Cremona to a museum. + +Before closing our account of this great master, it may not be +uninteresting to state in his life time, he appears to have charged +about £4 for a violin, and that he made so many during the course of +his long and industrious career, that his fellow citizens spoke of him +as rich. "As rich as Stradiuarius," was a common remark, as we see by +M. Fetis' notice. Another anecdote is, that Cervetto, an Italian +merchant in London, had a consignment of violins from the master +himself, and as he could not get four pounds each for them he returned +them. This appears strongly to disprove the assertion that his +instruments were as good when made as they are now, especially when we +find that in 1662, £40 was given for two Cremona violins for King +Charles' band, no doubt the elder Amati's, which at that date would be +getting mellowed by time. It is clear that King Charles, or the leader +of his band, knew the value of Cremona instruments, for reckoning the +difference in the value of money at the two periods, £20 then would +purchase £120 worth of goods now. It is therefore extraordinary that if +they were as good new as when they are old, the paltry sum of four +pounds could not be got for them. The real truth no doubt is that +whoever the maker, time must be the refiner, and even genius like that +of Stradiuarius and Guarnerius could not impart that grand, rich, and +mellow tone which distinguishes them without the aid of old Father +Time. + + +THE CREMONA VARNISH. + +Those who desire to make themselves acquainted with the chief +characteristics of the great Cremona makers should take every +opportunity of examining genuine instruments. In addition to the other +external indications we have pointed out, one of the most important, +which is also the most difficult, if not impossible to imitate, is the +varnish, including the colour. None of them seem to have adhered to one +colour only. The present master for instance covered some of his finest +violins with a deep rich yellow, almost approaching to orange. Others +again will be found of a fine red, having something of a most lovely +light cherry tint. Now these colours were mixed by the best makers with +amber varnish of the purest and clearest consistency, and both colours +and varnish are perfectly free from that muddy sort of appearance which +so often disfigures modern instruments. The effect is that of perfect +transparency. You look at a clear perfect rich colour, as it were, +through the purest crystal. This is one of the most certain indications +of a genuine instrument. The moderns unfortunately seem to have lost +the secret of making this lovely transparent clear coloured varnish, +and the consequence is that a connoisseur of ability and experience +never doubts when he sees an instrument whether it be the work of a +great master. It is however supposed that all the genuine productions +of the chief Cremona makers are now known, and we would not therefore +have our readers flatter themselves they can pick up any of them in a +casual way. Vigilant eyes and sharp judgments have long swept over +Europe in search of them. But the advantage is this--that a knowledge +of the best enables the amateur to discern a near approach to it, and +thus distinguish those makers who are not so well known, though, being +the pupils and followers of the great masters, they are well worthy of +his choice. Large diamonds are rare and very dear. A smaller gem must +suffice the amateur of moderate means. + + + + +THE GUARNERIUS FAMILY. + + +This is another glorious name in the annals of Cremona. Many of the +first connoisseurs, now hesitate whether to apply the epithet greatest +to Guarnerius or to Stradiuarius. The palm is therefore divided between +them. Certain it is however that inasmuch as money rules the world, if +we resort to that test, Guarnerius is the brightest gem, for it is +recorded that he has sold for £700 and Stradiuarius for only £600. Most +of the rich connoisseurs therefore desire to possess both. The great +players, to whom money is more an object, divide their affections +between them, and are satisfied with either one or the other, as chance +or opportunity may decide. + +The first of this celebrated family was Andreas, who was born in 1630 +and died about 1695. He appears to have been a pupil of Nicholas Amati, +and shows much of his teacher's careful finish. His instruments are +generally beautifully made, of good and handsome wood, with excellent +varnish, principally of amber colour like that of the Amatis. He also +occasionally, but much more seldom, used red coloured varnish. This +artiste is not famous for producing a great tone in his instruments, +and he is therefore not elevated to the first class, but he made very +good violins which are well worthy the attention of the amateur. We +have seen a very fine specimen in the hands of A. Bright, Esq., of +Sheffield, which was purchased of Mr. Hart, and which is decidedly the +best instrument we have seen of this master. It is remarkably handsome, +of a beautiful yellow colour, the back of one piece with rather small +figure, the ribs similar, the head most carefully and accurately formed +and the belly of fine wood. The tone is also more powerful than +Andrew's violins generally are, and it is altogether a very fine +example of his work. + +GUISEPPE GUARNERIUS is considered to be the son of Andrew, and his +instruments are generally signed as filius Andræ, very probably to +distinguish him from his more celebrated cousin and namesake, who is +besides generally known by the name of Joseph del Gesu. Guiseppe's +instruments are very similar to his cousin's in quality--but less +powerful and probably not so round in tone. They have however, a firm +well defined kind of sound, which is always pleasing both to the player +and the hearer, the former never feeling that the tone will give way +under his bow. There are a great number with "slab" backs. The varnish +is of first quality, and his violins are yearly becoming more valuable +and of greater importance. We have seen a violoncello by this master, +which is very fine. The back, ribs and head of very beautiful small +figured wood. The belly of very fine grained wood, the bate looking +like fine threads of silk stretched at regular intervals the whole +width and length of the instrument, and with an exceedingly rich red +varnish. It possesses also a fine quality of tone, and is dated 1713. + +PIETRO, another son of Andreas, dates from 1690 to 1720. In the latter +part of his life, he appears to have removed from Cremona to Mantua, +his labels bearing date from thence. He was a pupil of his father, but +is said not to have equalled him in careful finish. His instruments, +however, command considerable respect and fetch a good price, a +violoncello of his being recorded to have sold a few years ago for +£120. + +JOSEPH, nephew of Andreas, born in 1683, and died in 1745, is the last +and best of the race of violin makers of this name. He was distinguished +by the title of Joseph del Gesu, through his using on his labels, the +monogram I.H.S., with a cross over or through the H. His career appears +to have been of a very chequered complexion. From all the accounts that +have come down to us, he seems to have been a man of irregular habits +and eccentric genius. In consequence of these peculiarities, his +instruments differ greatly in their characteristics. Neither the model, +the wood, nor the varnish possesses much verisimilitude at different +periods of his career. They are all, however, marked by the stamp of +genius, and give but little trouble to a well informed connoisseur. +Even under the most distressing circumstances, when on some account, he +was confined in prison, and was obliged to be indebted to his gaoler's +daughter for the materials with which he worked, they still bear the +characteristics and originality of a great master. The finish, however, +of those which he made at this period was inferior to the others, being +rather coarse and slovenly, and the work altogether little indicating +externally the signs of that real excellence which they possess. At his +best period, however, his instruments are of rare beauty and merit, and +equal or perhaps excel those of Stradiuarius. The wood he then used was +of fine quality, and the varnish rich and lustrous and very often of +similar lovely tints as those of that master. Many of his instruments +are of rather small pattern, but in his best period, he produced some +of large size and of extraordinary power and grandeur of tone. Among +them was the famous favourite violin of Paganini, the renown of which, +says M. Vuillaume, "was equal to that of its master." This was the +instrument on which, the most celebrated of all violin players the +world ever saw, produced those extraordinary effects which astonished +the whole musical world, and which will never be forgotten by those who +heard them, nor perhaps excelled by any other. These instruments are +however unfortunately very rare, and as rich connoisseurs will have +them if possible, the value of them has come to be very great. We have +elsewhere mentioned the magnificent violin known by the name of the +King Joseph Guarnerius, for which Mr. Hart received the enormous sum of +£700, which is the largest amount ever obtained for a violin on record. +This splendid violin is of large pattern, with beautiful rich orange +yellow varnish and splendid wood. It was imported into this country by +Mr. Hart, and has been in the hands of those enthusiastic and judicious +collectors, Mr. James Goding and Mr. Stewart. Joseph Guarnerius appears +to have endeavoured to produce the grandest tone, combining majesty and +refinement. Many people think he did so without thought or design, but +we think otherwise. In the first place he seems to have fixed on Gaspar +di Salo and Magini as his models, for if a comparison be made we shall +find there are many points which resemble these instruments, for +example, the peculiar shaped sound holes, the manner in which they are +placed and the flat model, all of which tend to produce power, while he +obtained the quality from the wonderful ingenuity he exercised in +leaving the thicknesses of the wood in evidently the correct places, +which was the necessary step in advance. He certainly made many rough +instruments which are ascribed to his imprisonment, and which are now +called the Prison Guarnerii, but the varnish on these even is not +surpassed. He made many of a rich yellow colour, and others of red, the +latter of which are matchless instruments. His heads are not finely +cut, but the character he gave them has never been excelled. + +In the first rank of Joseph Guarnerius instruments we must no doubt +place that belonging to Paganini, which would, if it could be obtained, +command an extraordinary price, and there are also many other noble +productions of his skill extant. The King Joseph Guarnerius we have +before mentioned. Mr. Plowden has four very valuable violins by this +master. One was formerly the property of Mr. Goding, and was esteemed +by him the finest in his collection. Another is quite equal, more +highly finished and has his splendid red varnish. The third was +formerly the property of Ole Bull, and is considered of the finest +model of the master in his more unfinished and larger sized +instruments, dated 1714. The fourth, less well known, but perhaps more +perfect, certainly in tone, 1742. These four instruments are considered +by most of the virtuosi, to be probably the finest examples extant of +this great master. Certainly there are few collectors who can boast of +having so many fine violins as these four by Guarnerius, and the four +by Stradiuarius previously described. Mr. Plowden has always gone on +the principle of getting the very best instruments of each master, and +his taste and judgment are well evidenced in his collection. The late +Earl of Falmouth possessed some very valuable instruments such as the +Kiesewetter Guarnerius and the Jarnovick Guarnerius, so named after +their owners, and also a fine Magini Tenor, all of which were purchased +by Mr. Hart. The late lamented Prince Consort had a very fine tenor by +Joseph Guarnerius, which was highly finished and had belonged to +Dragonetti. There are many other fine specimens of Guarnerius in this +country. English collectors, with that splendid contempt for cost which +distinguishes them, allow no fine instruments to leave the country if +they know it, and the consequence is that in the present day, and for +some time back, England ranks first in the number and value of the +Cremona Violins she possesses. Next comes France, who has some able +connoisseurs; then Russia and Germany. Italy, strange to say, has +suffered them all to leave her, and though the native country of +Stradiuarius and Guarnerius, it is doubtful whether other nations have +not attracted all the finest instruments out of her own possession. The +great rise in the value of these extraordinary instruments is no doubt +due to the fact that they were built very strong in wood, the effect of +which would be to depreciate the tone when they were built, but which, +now time has ameliorated them and the wood has become capable of free +vibration, has refined the quality and increased the tone. Fifty years +ago, a Guarnerius of the best time might have been bought for £50 that +will now command £500. Neither does it appear that they have yet +reached their climax, for they are yearly increasing in value as the +examples we have mentioned clearly show. + + + + +THE GREAT TYROLESE MAKER. + +JACOB STEINER. + + +The time has been when the instruments of this master, whose name is +perhaps yet as widely known as the Cremonese, were very highly esteemed +in England. In Germany it is so yet, and many of the amateurs of that +country flatter themselves that Steiner ranks first in the roll of +famous violin makers. Their celebrated violinist, Spohr, however, in +his remarks on the subject inserted in his Violin School does not +coincide with the opinion of his fellow countrymen to this effect, for +he puts Steiner in the second rank, reserving to the first Nicholas +Amati, Antonius Stradiuarius, and Joseph Guarnerius. In this decision +he also generally expresses the opinion of the travelled professional +violinists of his own country as well as all Europe. But it is well +known that in Germany a well preserved instrument of Steiner's best +period will sell for much more money than any where else. In England +more especially we adopt exactly the reverse valuation. Steiner will +not now command a greater price than many of the pupils of the great +masters, and perhaps to some extent this may arise from the immense +number of spurious instruments bearing his name, which the inferior +Tyrolese makers put forth to the world and palmed on a credulous public +as his genuine instruments. Perhaps no master has been more copied and +imitated, both in Germany and elsewhere. In England the violin makers +in the beginning of the eighteenth century, mostly copied the pattern +and model of Steiner. There must, therefore, be some good and powerful +reason for this general depreciation in value and reputation which +Steiner has suffered. This the candid inquirer readily finds in the +fact that the instruments of Steiner, which were generally constructed +on a high and peculiar model were only calculated for the production of +a thin though sparkling tone, while the Italians aimed, particularly in +the flatter instruments, to obtain a full rich and round tone. This +distinction is apparent even in the older Cremona makers, but if we +compare those of Steiner with those of Nicholas Amati, of Stradiuarius, +or Guarnerius, the thin tone of the former and the rich round tone of +the latter become instantly most striking. The consequence is that the +rich amateurs who form collections, and the great performers whose +interest it is to please by the quality of tone as well as the grace +and finish of their execution, no longer purchase the Steiner violins +except as matters of curiosity in the case of a very fine example. We +do not know any great player who uses a Steiner instrument, as we shall +show in another article. We therefore only now class Steiner among the +great masters, from his past reputation, and for certain special +instruments. + +JACOB STEINER was a native of the Tyrol, and was born at Absom, near +Inspruck, about 1620. It is said that an old instrument by Kerlino, +which he found in the house, gave him his first tendencies towards the +art of violin making. Certain it is however that while yet a youth he +obtained employment in the workshop of Nicholas Amati. This was an +excellent school for the young aspirant, and after some years he made +some instruments which, with the exception of sixteen which will be +mentioned later, are considered to be the finest specimens of his +talent. These fine violins are the product of his Cremonese +inspiration, and bear a written label signed by himself and dated from +Cremona about 1644. These instruments are modelled higher than those of +his master, thus showing a singular divergence from the principle of +gradual decrease in the height of the model of the Amatis, from Andrew +to Nicholas. This divergence from that principle, which ended in the +flat model of Stradiuarius, must be considered to be the real cause of +the loss of favour which the Steiner violins, though beautiful in other +respects, have undergone. Steiner exaggerated the old practice instead +of following the new lights of science, and while the latter have +yielded the brightest results, the former has tarnished the real talent +of this otherwise excellent artiste. Probably another reason for the +defective tone of Steiner's instruments in comparison with the +Cremonese and Brescian, is the practice of modelling his violins with +an extraordinary and peculiar rise to about the foot of the bridge, and +then keeping it nearly flat. Otto describes it thus, "the breadth of +this raised part is about the same as the bridge itself, and then it +falls off towards the edges. The model is precisely similar towards the +neck and on the broad part (beneath the finger board.)" This description +is only imperfect in this point that sufficient stress is not laid on +the words _fall off_. It is literally a falling off, and on the +principles of acoustics must of necessity make the tone thin. Andrew +Amati, on the contrary, built nearly as high, but beautifully and +gradually sloped them down to the purfling, and his instruments, though +small in tone, are yet full, round and sweet. In other respects Steiner +at this period was a most careful maker, and his instruments show very +fine finish and workmanship. They are of the small pattern, with the S +holes rather shorter than the Cremonas, somewhat narrow and beautifully +formed; the head also smaller and particularly round and smooth. The +varnish is similar to that of the Amatis, and the wood of the belly has +a fine open grain. + +After the production of these instruments at Cremona, Steiner removed +to his native place and having married the daughter of Antonius Amati +appears to have lost his ambition, and made many very inferior +instruments. His history at this period is somewhat melancholy. Pressed +by the necessities of a family and the want of active patronage, his +genius languished and he became negligent and careless in his work. +This continued for some time till fortune again smiled upon him, when +not being compelled to sell for immediate wants he again resumed his +careful finish and began to be distinguished as a good maker. At about +this period Klotz and Albani became his pupils, and he produced some +excellent instruments, which are often distinguished by the scrolls +being ornamented with lions heads which are beautifully carved. These +and the heads of other animals are supposed to denote the crests of his +patrons at this period. They are dated from about 1650 to 1667 at +Absom. Fetis says the French violinist, Alard, has a violin of this +period of the greatest beauty, and that there is in Paris a genuine +Steiner, which he has heard Sivori play upon, which although of a very +small pattern has an unusually brilliant tone. + +Now comes the most brilliant period of this artiste's history in a +musical sense, though somewhat romantic and mysterious otherwise. + +Retiring to a monastery, it is said after the death of his wife, he +there passed the remainder of his life, but there does not appear to be +any positive information when he died. While there, however, he +resolved to distinguish the close of his career by the construction of +some violins of super-eminent beauty and quality. This he accomplished +by the aid of the superior, who obtained for him some very fine wood, +out of which those most famous instruments, known by the name of +_Elector Steiners_ were made by him. These are the violins which by +common consent most entitle this artiste to rank with the great +masters. They are of the very highest quality of the Steiner tone, +which Dubourg describes as "a pure ringing ethereal tone, comparable to +that of a woman's perfect voice--a shape of elegance--studied finish in +every detail, and a diaphonous varnish of golden hue." Such are the +characteristics, says this enthusiastic admirer of these productions of +Steiner's third or last epoch. There were sixteen of these violins, one +of which he presented to each of the twelve Electors, and the remaining +four to the Emperor. Unfortunately thirteen of them appear to have been +lost, and the remainder have all been in royal hands, the Empress Maria +Theresa, the Duke of Orleans, grandfather of King Louis Philippe, and +Frederick William of Prussia, and been presented by them (except the +last) to eminent foreign violinists. + +We have now presented a concise sketch of the career of this celebrated +artiste, and it is to be regretted that none of his more celebrated +violins are known to be in this country, to enable us to judge more +accurately, whether he succeeded, in any of them, in producing any +close approximation to the rich round tone of the best Cremona makers. +The best of those known to English connoisseurs are characterised by +the thin though brilliant tone we have described, which, when compared +with the Italian masterpieces, has led to their general depreciation in +the estimation of the highest authorities and the most distinguished +performers on the violin. + + + + +WHY ARE CERTAIN VIOLINS OF MORE VALUE THAN OTHERS? + + +In considering this question, several difficulties present themselves +to the inquirer. We are all aware of the infinite diversity of tastes +in the first instance, and in the next, accurate judgment is a matter +which depends on the union of so many qualities that it is rare indeed +to find two opinions completely alike. Nevertheless we do find that +there are a few instruments which by universal consent have become the +standard of taste. They are "the glass of fashion and the mould of +form" in the violin world. An appeal to these famous violins must +therefore be of some service in this inquiry, which is of very +considerable importance, because its object is to decide what is that +tone which confers that immense value which some violins have realised +as distinguished from that which possesses only a merit of so inferior +a character as to become scarcely valuable in any degree. In other +words, what are the distinguishing characteristics of tone of the +violins made by Nicholas Amati, Antonius Stradiuarius, and Joseph +Guarnerius. These three makers are now the Raphaels, the Titians, and +the Claudes of the musical world, and a few thoughts on their works in +connection with this subject may help us to a decision on this +difficult point, at least to the great bulk of amateurs. We will divide +the inquiry into three heads. + + 1. Power. + 2. Sweetness. + 3. Purity. + +In considering the first point, power, the amateur will have to beware +of a very possible mistake he may fall into. There is _apparent_ power +under the ear, arising from coarseness. This is a species of power +which is observable chiefly by the player. The listener, especially if +at a little distance, does not hear this power. The tone is clogged and +thickened with the resinous particles which have remained in the wood +and which perhaps, from its nature may never leave it altogether, and +the vibration is not therefore perfect. Another cause of false power is +a certain imperfect build wherein the parts are not properly calculated +as in the fine Cremona productions. These two classes of instruments +are very apt to deceive unpractised ears. But a moment's comparison +with one of the genuine great masters will show them in a most +unmistakable manner the difference. What then is real power? It is +simply musical tone, divested of all adventitious qualities. When tone +of this class is heard near, the effect is charming to the ear. When +heard afar off, it seems to swell out and become magnificent and +telling. Who that has heard a great player on a fine instrument, that +has not been astonished at the immense quantity of tone which arises +from this exceedingly fine quality. And it is in this way that even the +small Amatis, built when great amount of tone was not wanted and would +not have been appreciated, are still most delightful as solo +instruments. Its purity and fine quality carry it to a much greater +distance and produce a greater effect, than would arise from larger +instruments of less careful build and euphonic qualities. Herein is +discovered the difference between violins of the three great masters +named and others of the same name. If a small Nicholas Amati be +compared with a large model, it will be found that the quality is +similar, but the quantity is greater, and therefore the instrument +becomes more valuable. Again, in a Stradiuarius or Joseph Guarnerius of +the best period, which are of the flat model and most accurate build, +we find a pure ringing and deliciously rich quality, without roughness +or coarseness, that finds its way through everything to a great +distance, even in a crowded concert room. The differences in the three +great makers seems to be now decided to consist in fullness of tone and +quantity of power. The Amatis are essentially sweet and vocal. The +Stradiuarius--of similar quality, greatly increased in body and of a +more ringing bell-like character. The Guarnerius of the best model is +even still more powerful. But they all possess that essential purity +and richness of tone without which there is no real excellence. On this +head we find, therefore, that power, providing it be accompanied by the +other essentials of sweetness and purity, confers on violins the +greatest value. A Nicholas Amati of the grand pattern--a Stradiuarius +of the large flat model, or a Guarnerius of similar characteristics--all +of which have been built with the greatest care and attention to the +resonant qualities of the wood, and possess all these essentials--are +therefore the instruments that have and will always command the +greatest admiration. + +The next essential point in a good instrument we have to consider is +sweetness. This combines characteristics which are not essential to +power. A violin may possess the latter without the former. The tone may +be of a quality which will tell and carry, but not of that soft +delicious voice like nature which we call sweetness. The most admirable +instruments of this characteristic have been variously compared to a +flute or to the female voice. The latter is the best comparison. For +the brightest examples of this quality alone we must look to the small +violins of Antonius and Hieronymus, and also of Nicholas Amati. They +are of the most delicious quality, and for solo instruments cannot be +excelled. They respond with the most charming effect to the most +touching and passionate expression. A great player can really sing on +these with such a delightful effect as almost to compensate for the +want of speech. + +The third point is purity of tone. We may be said to have touched upon +this already in treating of the other two. But it is necessary to +allude to this also, because it is possible to have purity of tone +without sweetness or power. There are many instruments which from age +and use have lost all harshness or roughness of tone, but are still of +a thin piercing quality. These may be said to be pure in tone, but not +possessing the other requisites they fail in commanding attention. What +we have to look for in a violin is that roundness and fullness of +quality which are combined in the term sweetness. Tone cannot be said +to be sweet which is thin or piercing. It lacks one essential +characteristic. It is on this account that in the present day many of +the Steiner instruments have lost favour. There are a few which possess +both sweetness and purity, and they rank with the small Amatis. But the +best of them are wanting in power. This characteristic is only heard in +perfection in the Stradiuarius or the Guarnerius of Cremona, and the +great Brescian makers Gaspar di Salo and Magini. An amateur should look +therefore in purchasing an instrument whether it possesses these three +characteristics or any or which of them. + +We have now shown what are the essentials of a fine instrument, but as +the genuine productions of these great masters are mostly in the hands +of rich amateurs it is scarcely possible to become the happy possessor +of one of the perfect instruments. What then shall we do? The reply is +simple. Study the characteristics we have described, and you will find +in some of the pupils of the Amati, Stradiuarius, or Guarnerius a near +approach to this excellence. In fact it is well known that in the +scarcity of originals fine examples by the pupils have frequently been +sold as the work of the masters themselves. The Dictionary we have +compiled will tell the amateur what names will most probably supply the +qualities he desires. Care and attention will do the rest. + + + + +ON THE PRODUCTION OF GOOD TONE IN VIOLINS. + + +In the preceding chapter we have endeavoured to solve the question what +are the qualities that constitute good tone. We now propose to inquire +how good tone is provided for in the construction of the violin. We are +not about to enter into the scientific question. We wish merely to give +to the general amateur a knowledge which is often only acquired after +years of patient study and trial of instruments, by certain general +principles which will seldom or never be found to be incorrect in fact, +and then only through instruments being built on false rules in other +respects. In good instruments these rules may be said to be infallible. + +It is a curious fact that Gaspar di Salo and Magini, both early makers, +started with the principle which has since been brought to the greatest +perfection by the Cremona makers, and built on the flat model. Their +instruments are consequently found to possess much of the fine and +powerful tone which distinguishes Stradiuarius and Guarnerius. The +early Amatis, in the second place, built on a higher model, and their +instruments possess a sweet but not powerful tone. Steiner, thirdly, +built on a higher model still, and his instruments have a thin piercing +tone. We can only draw one conclusion from these facts--namely, that +the nearer we approach an entire flat in the model of a violin the +fuller, rounder, and more powerful the tone; other points of careful +work and good varnish being taken into consideration. This fact has +strongly impressed itself on the minds of scientific inquirers, and the +result has been, as tests of the principle, the production of flat +violins. These have been tried and reported satisfactory in the matter +of tone. But there are other points to provide for which a flat box +does not allow. To gain the requisite mass of air to produce good tone +a flat violin has to be made of a clumsy awkward shape. In the +beautiful modelled violin this is provided for in the rise of the back +and belly. The ribs may therefore be more or less shallow according to +the height of the model, and yet provide a sufficient space for the +necessary amount of air for the production of good tone. We arrive then +at this one certain fact, that the flatter the model of a violin the +greater the probability of a good fine tone. It is of such violins +therefore that we find the great performers possess themselves. This +may be said to be an infallible rule, and an examination of the +instruments of the most celebrated makers fully confirms it. + +Why therefore did the elder Amati, contemporary and probably pupil of +Gaspar di Salo, change the model and size of the instrument? This +inquiry brings us to the second rule for the amateur. There cannot be a +doubt that he adopted this plan because the flat model produced a more +powerful tone than was then required. He therefore, no doubt acquainted +practically, if not theoretically, with the principles of acoustics, +raised his model and decreased his size to provide for the production +of that eminently sweet tone which characterises his instruments. The +amateur therefore who desires tone of this description, but does not +want power, will generally find it in the model of medium height, +providing as in all other cases, the work and the wood are good. Of +this model are some of the sweetest toned violins to be found, of which +the Amatis are the type. + +Finally, many instruments are to be found constructed on Steiner's plan +with very elevated model flat on the centre, and falling off abruptly +towards the sides. These are all contrary to acoustic principles, and +their thin piercing tone is to be ascribed to the want of that +harmonious communication of vibration which their peculiar construction +inevitably indicates. + +Let, therefore, the amateur who wishes to be his own purveyor, examine, +with these principles impressed on his mind, whatever instruments he +can gain access to and the result will be that he will seldom err in +this matter. + +After this he must study the characteristics of good wood, careful +finish, and fine varnish. A knowledge of these is best acquired by +examining the instruments of the great masters. To go fully into these +also is not necessary here, having already commented on them under +their respective heads. One remark is, however, necessary here. Many +people foolishly imagine that _any_ violin may be made to produce +as sweet sounds in the hands of a skilful player as a high class +instrument. This is a great mistake, and a convincing proof of its +fallacy may be drawn from the fact that all the great soloists play +upon high class violins. They do this moreover at a time when they +would gladly save the expense were it possible. A few instances may +interest the reader. + + +GREAT PLAYERS AND THEIR INSTRUMENTS. + +Joachim plays upon a Stradiuarius, Vieuxtemps on a Guarnerius, Ole Bull +on a Guarnerius and an Amati, De Beriot on a Magini, (of which he had +two very splendid examples, the second being now in the possession of +the author,) Carrodus a Guarnerius, and many other living instances. +Piatti a Ruggerius violoncello, Servais a Stradiuarius violoncello. +Past examples may be cited in Paganini, who played upon a Guarnerius, +Mori a Guarnerius, and Spagnoletti the same. Ernst used a Stradiuarius. +Dragonetti played on a Gaspar di Salo and a Stradiuarius double bass. + + + + +GENERAL NOTES. + + +In the last article, we have given some general rules for judging of +the probable tone of an instrument from its model. A few further +remarks on this and other important topics will well supplement what we +have said. + + 1.--Accurate judgment in violins can only be obtained by long +experience and seeing many instruments, and if possible those of a high +class. There are many little points which to a casual or careless +observer are invisible, but which a practised connoisseur detects +immediately, and thereby is enabled to declare the maker. A difficulty +will often present itself to a tyro in the knowledge of violins, from +the family likeness which it is possible to trace, for example, between +Amati, Stradiuarius and Bergonzi. These have a general resemblance +which indicates the coming from one school. This applies also in many +other cases--but every master has some distinct difference which is +perceptible to the practised eye. The faces of a flock of sheep are to +a stranger all alike; to the shepherd, each has its personal +individuality. It is the same with violins, which can be read by the +practised student as easily as we know each other by the countenance. + + 2.--It is erroneous to imagine that Cremonese instruments can be +successfully imitated, a very popular story about Paganini's Guarnerius +to the contrary notwithstanding, as the lawyers say. An attempt to +impose an imitation on a practised judge is always productive of an +unpleasant result. To fall from the sublime to the ridiculous is +especially awkward, and results in becoming very particularly +ridiculous yourself. This _must_ be whenever a modern maker attempts to +make an ancient violin. There are practical difficulties impossible now +to get over--such as the varnish. The secret of making the grand old +varnish is lost, and therefore whatever is put on by a modern tells the +tale and cries aloud to the judge--This is a cheat! + + 3.--It is easier to imitate an old painting than an old violin, though +that is difficult enough to a good judge, but such an insuperable +obstacle as the old amber varnish does not puzzle the picture forger. + + 4.--In choosing an instrument it is better to select one of a flat +model, the sides of medium height, well proportioned and with good oil +varnish. + + 5.--We are inclined to think that all the great instruments of the +great makers are well known, and that there are none lying by unknown +to fame. + + 6.--Most of the more celebrated instruments are given a name of +distinction, such as the Yellow Stradiuarius, the Blood Red Knight +Guarnerius, the Ole Bull Guarnerius, the De Beriot Magini, the +Emmeliani Stradiuarius, the General Kidd Stradiuarius Violoncello, the +Servais Stradiuarius Violoncello, and others. These can be recognised +like the human face. + + 7.--The reason why Italian instruments are so superior to all others +must be ascribed to their exquisite make, the careful adjustment of the +various thicknesses of wood and the varnish, the secret of which +appears gone for ever. Perhaps another reason may be named in the wood +being so ripe and dry as to permit free vibration. + + 8.--The Cremonese obtained their colour in oil. The moderns get it only +in spirit, which imparts a hardness to the tone. Compare a Cremona with +the German and other imitations. Can't you hear how perceptible the +difference? The former is mellow and rich--the latter flinty and harsh. +This arises no doubt from the varnish. + + 9.--The Cremonese violoncellos were mostly made deeper by half an inch +at the bottom than at the upper part. Guiseppe fil Andreæ, Guarnerius, +Stradiuarius, Landulphus, and others observed this rule. The tone is +said to be greatly improved by it. + +10.--Some persons think it is very difficult to obtain an Italian +violin at a moderate price. It is not so. There are many whose makers +are not known, and also third class instruments of good qualities, +which can be obtained from £10 to £25. It is better to purchase one of +these than a baked copy or a new violin. Then again amateurs may resort +to the old French makers, some old English and the Tyrolean, which may +be had cheaper still. + +11.--A respectable dealer who is known to be a connoisseur of +experience, will never sell you a modern copy for an old Italian violin +with a long story of how he got it in some wonderful way. His character +is at stake. Beware of ignorance which assumes the mask of knowledge, +or of designing roguery which apes the appearance of innocence. + +12.--The present excellence of the old instruments arises from their +having been made thick in wood, which time has ameliorated and +mellowed, and now permits free vibration. It is much to be deplored +that many instruments have not been suffered to remain as the makers +left them, and that others under a false notion of giving an old tone +have been made too thin. + +13.--Had Magini, Gaspar di Salo, and other very old makers used as +little wood as some of their successors, where would their instruments +have been now? We are at the present time reaping the benefit of their +foresight. + +14.--There is evident proof of the deep interest the high class makers +took in endeavouring to advance the interests of their art. For +example, Stradiuarius sometimes put the widest grained wood on the +fourth string side, feeling it was the weakest and needed the open +grain. Sometimes he put it on the first string side. He was evidently +trying experiments. But he mostly adopted the former plan, no doubt +correctly. Again, they made instruments larger at the bottom than at +the upper part, gradually reducing in size and depth, an experiment +which observation has since found to be correct. They also made +instruments thicker under the bridge to enable them to bear the great +tension to which they are subject, and many other points showing how +perfect they became. They left little for modern ingenuity to discover. + +15.--Old instruments of character should be greatly prized and +carefully preserved, for it seems probable that there will be no others +to take their places, from many well known causes. + +16.--Makers of the present time have perverted their talents to +discover a means of producing the qualities of old instruments in new +ones, an achievement utterly impossible, as their efforts show. Many +make instruments with the greatest care, copying the plans of the old +masters--but instead of allowing Father Time to ripen them, they use an +acid to dry up the wood, or bake them. These are known by a peculiar +smell which tells the tale, and they get worse instead of better. +Again, they deem it wise to get a colour at any price, which can only +be done in our day by the use of spirit varnish. Did they use oil +varnish, our successors would at all events reap the benefit, if not +ourselves. The great masters were willing to wait for fame and tried +none of these dodges. Others again put the varnish on and rub it off in +places to resemble the wear of age. Much better would it be to cover +the instrument with varnish and leave age to do the rest. Such schemes +are futile and reflect discredit on those who adopt them. + +17.--The peg holes seen in old Italian violoncellos in the middle of +the back are where a peg was put to fasten the instrument round the +neck while playing in the Catholic Churches. + +18.--Stradiuarius in his early career frequently cut his wood to form +what are called slab backs, (explained elsewhere,) and sometimes used +pear tree for violoncellos. + + + + +REPAIRS OF INSTRUMENTS. + + +We cannot part with the reader who has thus far accompanied us in our +labours, without making a few remarks on the important subject of +repairs. So many fine instruments have been ruined and the beauty of so +many more tarnished by the mal-addresse and ignorance of some so-called +restorers and repairers, that we think we shall be serving the admirers +of the violin by warning them against entrusting valuable instruments +to incompetent hands. A few notes will serve to illustrate the chief +subjects for care and some important items in fitting instruments +properly. + +1.--So-called repairs have been frequently so clumsily done, as to +damage old and valuable instruments to an extent impossible to remedy. + +2.--There are many instances where wood has been taken out of the +instrument under the idea of improving the tone. This is a fatal error, +and when the mischief is discovered it is replaced by new wood. Others +have done the same under another erroneous impression, that it will +give strength to the instrument to enable it to bear the increased +pressure caused by the higher pitch used at the present time. Whatever +the notion, the result is always bad. The grain of the new wood does +not come level with the old, and causes a sudden check to the +vibration. The glue also lying between the old and the new wood deadens +the sound. Some repairers have been guilty of this practice to a great +extent, and many fine instruments have been thus damaged. Let no one +under any plea tamper with the thicknesses of wood in a good violin. + +3.--The sound bar used by the old masters (as we have before stated) +and others of that period, was much shorter than is now used, and +consequently all have been changed. The present bar is quite sufficient +to bear the increased pressure required in our time, without resorting +to any other means. If an alteration be required an experienced +repairer only can know the kind of bar required. + +4.--The necks of the old instruments were short; they have therefore to +be lengthened if found in their old state. A good repairer will splice +a neck in so as to be scarcely perceptible. Much of the ease and +comfort of playing depends how this is done. + +5.--The sound post is a very important item in fitting an instrument. +There is a marvellous power in this simple contrivance. It should fit +as though it were part of the back and belly. An instrument can be +frequently cured of a bad description of tone by the slightest move of +the post. Those subject to what are termed wolfy notes can be remedied +or the bad notes shifted to less important ones. It is a mistake to +suppose there is a particular place for the sound post in all +instruments alike. It depends upon the model of the instrument to a +great extent. High models require the post nearer the foot of the +bridge than flat models. Others require the post thick or thin. The +regulating of the post should only be entrusted to the skilled hand, +and we would impress upon amateurs that it is better never to shift the +post themselves. Many instruments have had the sound holes spoiled and +the surface of the wood inside gored by unskilful tampering with the +post. + +6.--The bridge is another very important agent in regulating an +instrument. No general rule will serve for this matter. Some +instruments require the bridge thick, others thin. Some a close grain +and others the contrary. The bridge should be fitted as accurately as +the post, and as though it grew from the belly, the feet touching +equally all round. + +7.--Tail pieces are better quite free from ornaments, which frequently +cause the instrument to jar disagreeably. + +8.--The strings are of great importance. They should be adjusted to be +in perfect fifths. This is essential, otherwise it is impossible to +play double notes correctly in tune. It may be done with a little +trouble. When the instrument is in tune on the open notes, place the +finger across the strings, for example, at B on the second string, and +F on the first string. If the fifth is imperfect, tune one string a +shade higher, and try again. If then perfect it requires a smaller +string. If not, tune a shade lower than the perfect open fifth, if then +right when tried as before, it requires a thicker string.[1] + + [1] We have seen a little instrument advertised to accomplish + this important matter without trouble. + + THE PERFECT FIFTH'S GAUGE.--"This useful gauge is marked with + such precision as to render all strings gauged by it in + accordance with each other producing perfect fifths, enabling + the performer to execute passages of double notes with the + greatest facility and correctness, at the same time effecting a + considerable saving of time and expense by entirely superseding + the old method of obtaining fifths by changing the strings." It + is manufactured and sold by Mr. John Hart, 14, Prince's-street, + Leicester-square, London. + + + + +ADDENDA. + + +LARCHE, ---- Brussels, 1847. Copyist of old makers. One of those who +endeavoured to produce an old tone by the use of acid, and consequently +spoiled the wood. + +ALBANESI, ---- Cremona, 1737. Similar to Testore of Milan, but broad +pattern. His instruments have a large tone, but poor varnish. + +GOBIT, ---- Venice, 1716. Made similar instruments to Ruggerius, and +used beautiful varnish. + +GABRIELLI, ---- Florence, 1740. Made excellent Violoncellos, yellow +varnish. Written labels. + +ANTONIAZZI, GAETANO, Cremona, 1860. This maker sent a violin to the +Exhibition of 1862, but is much behind his predecessors. + +FALCO, ---- Cremona, 1752. Made well proportioned instruments. + +HARRIS, CHARLES, London. An admirable workman. His instruments are +among the finest of the English. + +GAGLIANO, NICHOLAS, Naples, pupil of Stradiuarius. We have a note +(omitted in its proper place) that this maker excelled in violoncellos, +many of which are covered with fine rich varnish, seldom seen on +instruments by the Gagliano family. + + * * * * * + +In our notice of Stradiuarius Violins at page 113 we should have said +that William Howard, Esq., of Sheffield, possessed _two_ fine +examples--one as described and the other of the beautiful red varnish, +the latter formerly the property of the celebrated violinist Salomon, +for whom Haydn wrote his twelve grand symphonies. + + +PEARCE, PRINTER, SHEFFIELD. + + + + + + +End of Project Gutenberg's Violins and Violin Makers, by Joseph Pearce + +*** END OF THIS PROJECT GUTENBERG EBOOK VIOLINS AND VIOLIN MAKERS *** + +***** This file should be named 37309-8.txt or 37309-8.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/3/7/3/0/37309/ + +Produced by Markus Brenner and the Online Distributed +Proofreading Team at https://www.pgdp.net (This file was +produced from images generously made available by The +Internet Archive/American Libraries.) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Violins and Violin Makers + Biographical Dictionary of the Great Italian Artistes, + their Followers and Imitators, to the present time. With + Essays on Important Subjects Connected with the Violin. + +Author: Joseph Pearce + +Release Date: September 4, 2011 [EBook #37309] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK VIOLINS AND VIOLIN MAKERS *** + + + + +Produced by Markus Brenner and the Online Distributed +Proofreading Team at https://www.pgdp.net (This file was +produced from images generously made available by The +Internet Archive/American Libraries.) + + + + + + +</pre> + + +<h1> +VIOLINS +</h1> + +<h4> +AND +</h4> + +<h1> +VIOLIN MAKERS. +</h1> + +<hr class="short"> + +<h1> +BIOGRAPHICAL DICTIONARY +</h1> + +<h4> +OF THE +</h4> + +<h2> +GREAT ITALIAN ARTISTES, +</h2> + +<h4> +THEIR +</h4> + +<h3> +FOLLOWERS AND IMITATORS, +</h3> + +<h4> +TO THE +</h4> + +<h3> +PRESENT TIME. +</h3> + +<h4> +WITH ESSAYS ON IMPORTANT SUBJECTS<br> +CONNECTED WITH THE VIOLIN. +</h4> + +<br> +<h2> +BY JOSEPH PEARCE, JUN. +</h2> + +<br> +<h4> +<span class="sc">London: Longman and Co., Paternoster Row.<br> +Sheffield: J. Pearce, Jun.</span><br> +1866. +</h4> + +<div class="figcenter"><img src="images/logo.jpg" alt="Publisher's logo" width="88" height="133"></div> + +<hr class="med"> + + +<p class="section"> +CONTENTS. +</p> + +<table summary="Contents"> +<tr> +<td class="txt"> </td> +<td class="pg"><small>PAGE.</small></td> +</tr> + +<tr> +<td class="txt">Preface</td> +<td class="pg"><a href="#preface">5</a></td> +</tr> + +<tr> +<td class="txt">Introduction</td> +<td class="pg"><a href="#intro">8</a></td> +</tr> + +<tr> +<td class="txt">Violin Makers, alphabetically arranged</td> +<td class="pg"><a href="#alpha">15</a></td> +</tr> + +<tr> +<td class="txt">Bow Makers</td> +<td class="pg"><a href="#bow">88</a></td> +</tr> + +<tr> +<td class="txt">Cremona</td> +<td class="pg"><a href="#Cremona">93</a></td> +</tr> + +<tr> +<td class="txt">Amati Family</td> +<td class="pg"><a href="#Amati">93</a></td> +</tr> + +<tr> +<td class="txt">Stradiuarius</td> +<td class="pg"><a href="#stradiuarius">107</a></td> +</tr> + +<tr> +<td class="txt">On the Cremona Varnish</td> +<td class="pg"><a href="#varnish">119</a></td> +</tr> + +<tr> +<td class="txt">Guarnerius</td> +<td class="pg"><a href="#guarnerius">121</a></td> +</tr> + +<tr> +<td class="txt">Steiner</td> +<td class="pg"><a href="#steiner">131</a></td> +</tr> + +<tr> +<td class="txt">Why are certain Violins of more Value than others?</td> +<td class="pg"><a href="#value">140</a></td> +</tr> + +<tr> +<td class="txt">On the Production of Good Tone in Violins</td> +<td class="pg"><a href="#tone">148</a></td> +</tr> + +<tr> +<td class="txt">Great Players and their Instruments</td> +<td class="pg"><a href="#players">152</a></td> +</tr> + +<tr> +<td class="txt">General Notes</td> +<td class="pg"><a href="#notes">154</a></td> +</tr> + +<tr> +<td class="txt">Repairs of Instruments</td> +<td class="pg"><a href="#repairs">162</a></td> +</tr> + +<tr> +<td class="txt">Addenda</td> +<td class="pg"><a href="#addenda">167</a></td> +</tr> +</table> + +<hr class="med"> + + +<a name="preface"> </a> +<p class="firstchapter"> +PREFACE. +</p> +<br> + +<p> +The Violin is an instrument which, though small and of trifling +original cost, has yet commanded most extraordinary prices. The reason +of the immense difference in the value of these instruments must +therefore be a subject possessing strong claims to notice from virtuoso +and amateur. +</p> + +<p> +To distinguish by the outward characteristics and peculiarities of +tone, that which will be of pecuniary value to the possessor, and yield +the utmost delight to the hearer, is an acquirement at once difficult +to obtain and very valuable when obtained. To assist the amateur and +collector in this pursuit is the object of the present little work. +Such a work has long been a desideratum. +</p> + +<p> +Of late years, the History of the Violin and its congeners has received +much attention. Elaborate and costly treatises have been published, +some of which being written in Foreign tongues, are exceedingly +difficult to obtain, and not accessible to many of those who desire to +peruse them, on that account. Others are very imperfect and +unsatisfying. Others again, are, from their high price, beyond the +reach of the greater number of amateurs. +</p> + +<p> +The present work is intended chiefly for the use of those who desire a +handy guide to the principal characteristics both of make and tone +which mark the chief builders of this most famous instrument. Many +persons anxious to possess a good instrument, and led away by the very +natural desire to possess an Amati, a Guarnerius, or a Stradiuarius are +tempted into purchasing Violins which are presented to them under false +and delusive titles, and reject frequently good and genuine instruments +of less famous makers, but still valuable because they are good and +genuine. Undoubted specimens of the great masters are now very rarely +to be had, unless at a very high price. Yet, when we consider that even +Stradiuarius himself obtained no more than four pounds for his best +instruments, which now command as many hundreds—it is evident that, in +the absence of those great productions, the works of his pupils and +successors are well worthy the attention of amateurs. There is no +doubt, indeed, that many of these, which from being built on his +principles are of first-rate quality, have been sold as those of the +master himself. It cannot, therefore, be questioned that a knowledge +which will lead the amateur to buy an instrument for what it really is, +instead of what it professes to be, will at once save him from the +unpleasantness of paying too dearly, and in real enjoyment yield all +that can be desired. +</p> + +<p> +The author believes he has in this work given the amateur and +connoisseur information not easily attainable elsewhere, but as he is +fully conscious that there may be imperfections in it still, he will be +glad to receive any suggestions or information which may enable him to +render it still more complete. +</p> + +<p> +Sheffield, February, 1866. +</p> + + + + +<a name="intro"> </a> +<p class="chapter"> +INTRODUCTION. +</p> +<br> + +<p> +The two most pleasing, expressive, and powerful single instruments of +music are the human voice and the violin. The one, the gift of +beneficent nature, has from the creation exercised its touching +influence on the human soul—the other, the product of the ingenuity of +man, has only within the last three centuries attained to perfection, +but since that period what delight, what rapture has arisen from so +simple a construction, when acted upon by the hand of genius! +</p> + +<p> +While the melodious tones of Grisi and Mario have touched with +sympathetic feelings the hearts and imaginations of spell bound +listeners, how have the magic tones of Paganini and Ernst wrapped the +souls of wondering thousands in an elysium of delight and admiration! +What effect cannot be produced by the Violin, (except that of speech,) +which the voice can accomplish? +</p> + +<p> +The Violin in the hands of genius can draw tears or create laughter. +Whoever has heard the great masters of this extraordinary instrument, +has heard all the sweetness of tone, the intensity of feeling, the +power of expression that the most gifted sons and daughters of song +could possibly produce without the additional aid of speech. The +Violin, in fact, in its power of expression far excels those singers, +of whom there are too many, who while singing the notes, fail to make +their hearers understand the sense of their songs. If a merry dance is +produced by the agile bow, its sympathetic tones at once excite a +corresponding feeling. If a plaintive air streams in delicious and +heart-touching cadences from the strings, what soul is there so dead to +feeling as not to respond? +</p> + +<p> +The perfection of the Violin is that its master, if alive to the subtle +and mysterious influences of the imagination, can elicit from it the +most perfect and touching "songs without words." +</p> + +<p> +It is besides the only instrument, except the voice, which is perfect. +Every shade of expression, every nicety of tone can be produced on it. +All other instruments sink into insignificance in comparison with the +Violin, because they cannot do this. They are all more or less +imperfect; and therefore fail in those subtleties of expression of +which the Violin and the voice are such able exponents. +</p> + +<p> +What gratitude do we owe therefore to those great masters of Cremona, +more especially the Amati and Stradiuarius, who have succeeded in +bringing the Violin to its present state of perfection. +</p> + +<p> +Music has in all ages been a source of the purest delight. The greatest +poet and dramatist the world ever knew says that whoever "has not music +in his soul is fit for treasons, stratagems, and spoils." In the +present age the cultivation of Music forms one of the most general and +the most refined sources of amusement and pleasure. All ranks of people +are now privileged to join in its delightful enjoyments. +</p> + +<p> +Even the cottage of the artisan is now often elevated by the elegant +practice of music, through the increased facilities for producing +instruments at a cheap rate. The consequence is that in the present age +there is a more general study and a finer perception of what is good +and beautiful, and their elevating tendencies are doing much for the +mental cultivation and refinement of all classes. +</p> + +<p> +A very extraordinary feature of the musical world of the present day is +the enormous orchestras which can be produced on special occasions. A +chorus of several thousand voices supported by hundreds of instruments +may now be heard, rendering the immortal compositions of the greatest +masters of the divine Art, in the Peoples' Palace at Sydenham and +elsewhere. These Orchestras are chiefly selected from the ranks of the +people, of whom the artisan is the chief contributor. +</p> + +<p> +The reduction of the cost of instruments and the adoption of what may +be called the joint stock principle are tending still further to +enlarge the boundaries of the practical musical world. At any time and +for any special purpose it is now easy to secure a band and chorus +sufficient in numbers and executive power to render in an efficient and +powerful manner, the glorious productions of Beethoven, Mozart, Handel, +and other great masters. +</p> + +<p> +In all these transitions, the Violin bears a most important part. It is +the leading instrument in these great performances, as it is also, +after the voice, the most powerful medium of expression in solo. It is +also the peoples' instrument. +</p> + +<p> +The labours of many eminent violin makers who have followed in the +steps of the great masters have of late so immensely improved the art, +that a good instrument may now be possessed by any one. And it may +safely be said that with its improvement, has arisen also the extension +and wide spread practice of music generally. An ear accustomed to the +fine tone of a good violin will not now tolerate a bad piano-forte. +</p> + +<p> +The Piano-forte and the Violin are the most general instruments, and +they have alike participated in the improvements effected, in becoming +cheaper by the advance of science. Every description of machinery has +within the last fifty years received the attention of able men, and the +mechanical construction of the Piano-forte is one prominent proof of +the advantages which can be conferred by science on even the luxuries +of life. +</p> + +<p> +The Violin, also, seemingly the most incapable of mechanical +application to its manufacture, is said to be now made by a most +persevering and enthusiastic lover and follower of the great makers, by +mechanical means. Copies of these celebrated makers, are now said to be +manufactured by him with an uniformity, a certainty, and a precision +impossible except by the aid of scientific improvements. These +instruments are therefore understood to require only the ameliorating +influences of time and use to become fine in tone and satisfactory in +every respect. +</p> + +<p> +Every one interested in the progress of music, must rejoice at the +rapid development of its resources and the general spread of its +pleasures among the people. We are a profoundly commercial nation, and +it is delightful to see that in our greater wealth and prosperity, +rational amusements, and more especially music, go on increasing step +by step with our more business-like occupations. This class of +amusements must exercise a humanising and refining influence on the +habits and manners of the people, and they should be, therefore, +patronised and encouraged by all those whose means are large and their +example powerful. There can be no doubt that their tendency is for +good, and that those whose leisure hours are devoted to their practice +and study, will be richly benefited by them in all those qualities +which combine to make the good citizen and the estimable friend. +</p> + + +<hr class="short"> + +<p class="ctr"> +NOTE. +</p> + +<p> +To prevent too much space being taken up in the alphabetical portion of +this work, separate chapters are given on the four renowned Violin +Makers, Amati, Stradiuarius, Guarnerius and Steiner. The names and +dates of each of the members of these celebrated families are however +given in their proper places, for prompt reference. +</p> + +<p> +We have not in some cases been able to find any records beyond the +names of certain makers. Wherever possible we have given dates, places, +and style of work. +</p> + +<hr class="med"> + +<a name="alpha"> </a> +<p class="ctr"> +<big>DICTIONARY</big> +</p> + +<p class="ctr"> +<small>OF</small></p> + +<p class="ctr"> +<big>VIOLIN MAKERS.</big> +</p> + + +<p class="head"> +A. +</p> + +<p class="hang"> +ACEVO, —- Cremona, Pupil of Guiseppe Cappa. This artiste made very +good violins in the style of the Amati. +</p> + +<p class="hang"> +ADDISON, WILLIAM, London, 1670. +</p> + +<p class="hang"> +AIRETON, EDMUND, London, 1730. A good and neat Maker. +</p> + +<p class="hang"> +ALDRED, —- London, Early English Lute Maker. +</p> + +<p class="hang"> +ALETZIE, PAULO, Monaco, 1720-30. Famous for his Violoncellos. +</p> + +<p class="hang"> +ALBANI, MATTHIAS, born at Botzen or Bulsani, in the Tyrol, about 1621. +This artist was highly esteemed formerly, and Otto says that it is +exceedingly difficult to give so exact a description of them as readily +to distinguish them from those of Nicholas Amati, who was said to be +his master. In the present day, opinions are very different. +Nevertheless there are some fine instruments by this maker, of high +model, with reddish brown varnish and bearing a great similarity to +those of Steiner, of whom he was also said to be a pupil. The +"Dictionary of Musicians" speaks highly of this maker. This was +decidedly the best artiste of this name. +</p> + +<p class="hang"> +ALBANI, PAOLO, Palermo and Cremona, was also under Nicholas Amati, +about 1659. +</p> + +<p class="hang"> +ALBANI, —- son of the above, about 1712, was also a careful maker, +and turned out some good Instruments. +</p> + +<p class="hang"> +AMATI FAMILY. +</p> + +<p class="indent"> +For fuller particulars of these eminent makers, see separate Article. +</p> + +<p class="hang"> +AMATI, ANDREAS, Cremona, born 1520, died 1580. +</p> + +<p class="hang"> +AMATI, NICHOLAS, brother of the above, celebrated for his Basses. +</p> + +<p class="hang"> +AMATI, NICHOLAS, son of Andreas. +</p> + +<p class="hang"> +AMATI, ANTONIUS and HIERONYMUS. Sons of Andreas, 1550 to 1634, first +made together and afterwards separately. +</p> + +<p class="hang"> +AMATI, NICHOLAS, born 1596, died 1684, son of Hieronymus. This was the +greatest maker of the family. +</p> + +<p class="hang"> +AMATI, ANTONIO JEROME, do. 1640 to 1670. +</p> + +<p class="hang"> +AMATI, HIERONYMUS, Son of Nicholas, born 1649, said to be the last of +the Amati family. A violin of his is mentioned, dated 1672. +</p> + +<p class="hang"> +AMELINGUE, —- Paris, 18th Century. +</p> + +<p class="hang"> +ANSELMO, PIETRO, Venezia, 18th Century. +</p> + +<p class="hang"> +ARTMANN, GOTHA. Followed Cremona pattern. +</p> + +<p class="hang"> +ASSALONE, GASPARD, Rome, 18th Century. Cremona patterns. +</p> + + +<p class="head"> +B. +</p> + +<p class="hang"> +BACHMANN, LOUIS CHARLES, Berlin, born 1716, died 1800. Considered to be +one of the best makers of Germany. Otto says, the Instruments by this +Maker are next in point of quality to the Cremonese. Without going so +far, with our present increased knowledge of the pupils of the Cremona +makers, it may still be admitted that Bachmann was an excellent maker +and was very careful in his proportions, so that Amateurs have been +often deceived into thinking them genuine Cremonas. They are of the +flat Stradiuarius Model, made of good wood, with amber varnish, and +therefore present considerable similarity to their patterns. +</p> + +<p class="hang"> +BAGANZI, —- see Bergonzi. +</p> + +<p class="hang"> +BAGATELLA, PIETRO,—Padua, 1766. Said not to be very good. +</p> + +<p class="hang"> +BAGATELLA, ANTONIO,—Padua, 1782. Author of a Work on the construction +of Instruments, from which Bishop in his Translation of Otto, has +appended a Theory for making a Violin on a very simple plan. He made +some excellent Violins after Cremona patterns. +</p> + +<p class="hang"> +BAINES, —- London, about 1780. +</p> + +<p class="hang"> +BAKER, —- Oxford about 1720. +</p> + +<p class="hang"> +BALESTRIERI, THOMAS, This excellent Maker was a pupil of Stradiuarius, +and made after his model. The Author has seen an Instrument by this +Artist, which is of the large flat pattern and has a magnificent and +brilliant tone. The wood of the back and ribs rather plain—the belly +very fine open grain, purfling not very neat—varnish reddish yellow. +Pronounced by judges to be equal to a fine Stradiuarius. It is dated +Thomas Balestrieri, Cremonensis, fecit Mantua, 1757. This instrument is +a proof that amateurs may in future look with safety to the pupils of +Stradiuarius for violins to take the place of those of the great +masters, which are yearly becoming scarcer and dearer. +</p> + +<p class="hang"> +BALESTRIERI, PIETRO, Cremona, rather earlier than Thomas. +</p> + +<p class="hang"> +BANKS, BENJAMIN, Salisbury. Born 1727, died 1795. Foster in his +excellent work calls him "one of England's best manufacturers. Too much +cannot be said in praise of this justly celebrated Maker. The work of +all the better class of instruments is excellent, the tone good of all; +but that of the Violoncellos in particular is full and sonorous." Mr. +Gardiner in his "Music and Friends," says "Banks of Salisbury's +Violoncellos are of the finest quality of tone—not so strong and fiery +as Foster's, but in sweetness and purity excelling them." They are +chiefly of the Amati pattern.—The best Instruments have brownish +yellow Varnish with a tinge of red, others deep red of a blackish +tinge, Varnish not brilliant. +</p> + +<p class="hang"> +BANKS, BENJAMIN, Son of the former, London, born 1754, died 1820. +</p> + +<p class="hang"> +BANKS, JAMES and HENRY, Salisbury, other sons of the same. James is +said to have been an excellent workman in his father's style, and dates +about 1805. +</p> + +<p class="hang"> +BARRETT, JOHN, London, about 1725. His labels state him to live at the +Harp and Crown, in Picadilly. He made some good instruments, but did +not purfle them. The author has seen a Violoncello by this maker which +was everything that could be desired in the matter of tone. The wood +and workmanship, however, were not equal to the tone, and this +circumstance will probably partly account for the settled preference +now given to the Italian instruments over all the old English makers. +</p> + +<p class="hang"> +BARTON, GEORGE, London, died 1810. +</p> + +<p class="hang"> +BEKMAN, SWENO, Stockholm, 1706. +</p> + +<p class="hang"> +BELLOSIO, —- one of the Venetian makers, 18th Century. +</p> + +<p class="hang"> +BENOIST, —- Paris, 18th Century. +</p> + +<p class="hang"> +BENTE, MATTEO, Brescia, about 1580. Well known among virtuosi as a +maker of merit in the style of Gaspar di Salo and Magini. +</p> + +<p class="hang"> +BERGONZI, or BAGANZI, FRANCISCO, Cremona, 1687. +</p> + +<p class="hang"> +BERGONZI, CARLO, Cremona, 1712 to 1750. Considered by authorities to +be the best pupil of Stradiuarius. He made instruments of the same +beautiful and brilliant tone which has rendered the productions of his +master famous throughout the world. Constructed on similar principles, +and generally of well-chosen wood, there is no doubt the productions +of this excellent artiste will hereafter rank very high. Like +Stradiuarius himself, Carlo Bergonzi is by some considered to have +been at one time a pupil of Nicholas Amati. Every amateur would, if it +were possible, get a Stradiuarius, an Amati, or a Guarnerius, but as +the genuine violins of these makers are very rare and valuable, they +should look for the veritable instruments of their pupils, which are +now beginning to be highly esteemed on account of their intrinsic +excellence. +</p> + +<p class="hang"> +BERGONZI, NICHOLAS, Son of Carlo, but said to be inferior to his +father. +</p> + +<p class="hang"> +BERGONZI, MICHAEL ANGELO, Probably another son of Carlo. He, also, has +the credit of being a pupil of Stradiuarius, though that seems rather +doubtful, because the latter died in 1737, at which time, if a son of +Carlo, he would not have been old enough. +</p> + +<p class="hang"> +BERNADEL, —- Paris, 18th Century. +</p> + +<p class="hang"> +BETTS, JOHN, called Old Betts, London, +</p> + +<p class="ctr"> +and +</p> + +<p class="hang"> +BETTS, EDWARD, his nephew. +</p> + +<p class="indent"> +These two well known makers were said to be pupils of Duke, but often +employed other artistes, such as Carter, Panormo, B. Fendt, and his +sons, whose work, chiefly imitations of the Cremona instruments, +gained them great reputation both at home and abroad. 1782 to 1823. +</p> + +<p class="hang"> +BINTERNAGLE, —- Gotha, 18th Century. This maker was a German imitator +of the Cremona Violins, and is said to have been very successful. +</p> + +<p class="hang"> +BOCQUAY, JAQUES, Paris, about 1620. A very good maker, and highly +esteemed in France. +</p> + +<p class="hang"> +BODIO, —- Venezia, 18th Century. +</p> + +<p class="hang"> +BOLLES, —- An early English Lute and Viol Maker. Mace, 1675, says +"one bass of Bolles, I have known valued at £100," equal to at least +£600 of our present money. +</p> + +<p class="hang"> +BORELLI, ANDREAS, Parma, 1740. +</p> + +<p class="hang"> +BOULLAINGER, —- London. A careful maker, who first worked for others, +and now on his own account. +</p> + +<p class="hang"> +BREMEISTER, JAN., Amsterdam, 1707. +</p> + +<p class="hang"> +BROSCHI, CARLO, Parma, 1744. +</p> + +<p class="hang"> +BRETON, Le, Paris. +</p> + +<p class="hang"> +BROWN, JAMES, born 1670, died 1834, +</p> + +<p class="ctr"> +and +</p> + +<p class="hang"> +BROWN, JAMES, son of do., born 1786, died 1860. Both good workmen, but +without any speciality. +</p> + +<p class="hang"> +BUCHSTADTER, —- Ratisbon, 18th Century. Used the flat model. Otto +says the wood is not good, and therefore, though well built, the tone +is not fine; but Spohr puts his violins on his list as excellent +instruments. He may, therefore, be ranked among the good German makers. +</p> + +<p class="hang"> +BUDIANI, JAVIETTA, Brescia, about 1580. Made after the style of Gaspar +di Salo. +</p> + + +<p class="head"> +C. +</p> + +<p class="hang"> +CAESTA, PIETRO ANTONIO DELLA, Trevisa, 18th Century, imitated +Stradiuarius. +</p> + +<p class="hang"> +CAMILE, CAMILUS de, Mantua, esteemed as a pupil of Stradiuarius. +</p> + +<p class="hang"> +CAPPA, GIACHIMO or GIOFREDA or probably two Brothers, born at Cremona +and worked under Amati. Date there about 1590 and were in Piedmont +1640. There are some good Violoncellos of this make. +</p> + +<p class="hang"> +CAPPA, GUISEPPE—Saluzzo—end of 16th Century. +</p> + +<p class="hang"> +CAPPER, —- or probably Cappa, Mantua. A Violin of this make was sold +by auction in London in 1861, and said to be very good. +</p> + +<p class="hang"> +CARTER, JOHN, London, 1789, made some excellent instruments which were +sold both under his own name and under that of John Betts for whom he +had worked. +</p> + +<p class="hang"> +CARLO, GUISEPPE, Milan 1769. +</p> + +<p class="hang"> +CASSINO, ANTONIO, Modena, 17th Century. +</p> + +<p class="hang"> +CASTAGNERY, JEAN PAUL, Paris 1639 to 1662. This artist is considered to +be one of the best of the old French Makers. One authority says they +have a fine silvery tone but not powerful. +</p> + +<p class="hang"> +CASTAGNERI, ANDREA, Paris. 18th Century. +</p> + +<p class="hang"> +CHANOT, —- Mirecourt, France, a good maker, 18th Century. +</p> + +<p class="hang"> +CHANOT, —- London. +</p> + +<p class="hang"> +CHAPPUIS, (or Chappuy,) AUGUSTINE, about 1710. +</p> + +<p class="hang"> +CHARLES, THERESS, London. +</p> + +<p class="hang"> +CHEROTTE, —- Mirecourt, 18th Century. +</p> + +<p class="hang"> +CHEVRIER, —- Paris, 18th Century. +</p> + +<p class="hang"> +CHRISTA, JOSEPH PAUL, Munich, 1730. +</p> + +<p class="hang"> +CHRISTOPHORI, BARTOLOMEO, Florence, 18th Century. +</p> + +<p class="hang"> +CIRCAPA, THOMASO. Naples, 1730. +</p> + +<p class="hang"> +CLARK, —- London. +</p> + +<p class="hang"> +COLE, THOMAS, London. Forster says no instrument has been preserved of +this maker, but that is a mistake. There is in the neighborhood of +Sheffield, a very large Tenor with a fine deep tone and the following +curious label. +</p> + +<table class="cole" summary="Label" border="1"> +<tr> +<td class="left" valign="top">Made</td> +<td class="center">1690,<br>THOMAS COLE of<br>London, on Holborn Hill, who selleth<br>all sorts of Musical Instruments.</td> +<td class="right" valign="top">by</td> +</tr> +</table> + +<p class="hang"> +COLLINGWOOD, JOSEPH, London, 18th Century. +</p> + +<p class="hang"> +CORSBY, GEORGE, believed to be formerly a maker at Northampton, and now +and for a long time a dealer in Violins, &c., in Princes' Street, Soho, +London. +</p> + +<p class="hang"> +CONWAY, WILLIAM, 1745. +</p> + +<p class="hang"> +COLLIER, SAMUEL, 1755. +</p> + +<p class="hang"> +CRASK, GEORGE, of various places, has made many Violins in imitation of +the Cremona Makers, some of which have been sold by unscrupulous +dealers as genuine instruments, an example of which we have seen which +was purchased by a professional man, since dead, of a Violinist then on +a Musical Tour. It is only right here to say that we believe Mr. Crask +to be entirely free from blame in this matter, as he sells these +instruments as his own productions. +</p> + +<p class="hang"> +CROWTHER, JOHN, 1755 to 1810. +</p> + +<p class="hang"> +CROSS, NATHANIEL, London, about 1720. He was partner at one time with +Barak Norman and used his monogram sometimes. He also stamped a Cross +in the inside of his instruments as well as used it in his labels. He +made some good Violins, which resemble those of Steiner. His mark in +the inside of the back is here given. +</p> + +<p class="ctr"> + +<br> + N. C. +</p> + +<p class="indent"> +A violin of this make which we have seen, has the great fault of having +the bass bar cut out of the solid, instead of being glued in, thus +contravening the established principles of the art. +</p> + +<p class="hang"> +CONTRERAS, JOSEPH, Madrid, 1746. An excellent maker, who was +particularly celebrated for his copies of Stradiuarius. +</p> + + +<p class="head"> +D. +</p> + +<p class="hang"> +DARDELLI, PIETRO, Mantua, about 1500. Made good rebecs, violas and +viols da gamba. Fetis mentions some of them as still existing. +</p> + +<p class="hang"> +DECOMBRE, AMBROISE, Tournay, 1700 to 1735, was said to be one of the +pupils of Stradiuarius and made some good instruments of his pattern. +</p> + +<p class="hang"> +DESPONS, ANTOINE, Paris,—one of the good French Makers, about 1725. +</p> + +<p class="hang"> +DICKENSON, EDWARD, 1754. +</p> + +<p class="hang"> +DICKSON, JOHN, Cambridge, 1779. +</p> + +<p class="hang"> +DIEHL, NICHOLAUS, Darmstadt, 17th Century. +</p> + +<p class="hang"> +DITTON, —— London, about 1720. +</p> + +<p class="hang"> +DODD, THOMAS, Son of Edward Dodd of Sheffield, and who died in London +in 1810, at the great age of 105 years (see Bow Makers). Thomas Dodd's +instruments have had considerable reputation, but it is believed he was +not a maker himself, but employed Bernard Fendt and John Lott, through +whose excellent workmanship his name, which he put on the labels, +became well known. +</p> + +<p class="hang"> +DODD, THOMAS. Son of the above; he was drowned in 1843. +</p> + +<p class="hang"> +DOMINISCELLI—Ferrara, 18th Century. A good workman. +</p> + +<p class="hang"> +DUKE, RICHARD, London, 1767 to 1777. This Artist was very celebrated in +his day and his instruments commanded very good prices. He frequently +stamped his name on the back, but as far as we have seen, only on +inferior productions. Very good instruments may now occasionally be met +with at low prices in consequence of the great prejudice in favour of +the Italian and other foreign makers. +</p> + +<p class="hang"> +DURFEL, —— Altenburg, made good double Basses. His violins are also +said by one authority to be excellent in point of tone. +</p> + +<p class="hang"> +DUIFFOPRUGCAR, GASPARD, born in the Tyrol, established in Bologna in +1510, and went to Paris at the invitation of Francis 1st. He afterwards +removed to Lyons. This appears to be the first maker of the genuine +Violin we have on record, and some instruments still exist to attest +the excellence to which he had reached. M. Vuillaume, possesses a Bass +Viol, and other Parisian Collectors possess instruments by this ancient +artiste. +</p> + + +<p class="head"> +E. +</p> + +<p class="hang"> +EBERLE, JEAN ULRIC, Prague, 1749. Otto says this is one of the most +celebrated German Makers and his instruments have been frequently taken +by experienced connoisseurs for Italian; the difference being that they +"have a sharper or rather not so round and full a tone." Connoisseurs +could not be very experienced at that time, if they could mistake for +Cremonese, instruments possessing this characteristic, which is exactly +what distinguishes the inferior instruments from the genuine. +</p> + +<p class="hang"> +EBERTI, TOMMASO, about 1730. +</p> + +<p class="hang"> +EDLINGER, THOMAS, Prague 1715. +</p> + +<p class="hang"> +EDLINGER, JOSEPH JOACHIM, Prague, son of Thomas. Visited Italy, and +afterwards built some excellent instruments; died in 1748. +</p> + +<p class="hang"> +ERNST, FRANCOIS ANTOINE, born in Bohemia in 1745. This artiste made +some excellent instruments which are said almost to reach the Cremonas +in tone. He was also the Author of a Treatise on Instruments. The +celebrated Violinist Spohr, author of "the Violin School," is said to +have at one time used one of this maker's instruments. +</p> + +<p class="hang"> +EVANS, RICHARD London, 1742. +</p> + + +<p class="head"> +F. +</p> + +<p class="hang"> +FARINATO, PAUL, Venezia, about 1700. +</p> + +<p class="hang"> +FENDT, or FINTH, Paris, 1763-80. Made good instruments after the +Stradiuarius model, some of which followed his style so carefully as to +have been taken for those of that master. +</p> + +<p class="hang"> +FENDT, BERNHARD, born 1775, died 1825. Nephew of the above. He worked +first for Dodd and afterwards for old John Betts. He was a capital +workman and made many fine imitations of the Cremonese instruments. +</p> + +<p class="hang"> +FENDT, BERNARD SIMON, Son of the above, born 1800, died 1852, became +partner with Purdy in the well known firm of Purdy and Fendt. +</p> + +<p class="hang"> +FENDT, MARTIN, brother of the above, born 1812, died 1845. +</p> + +<p class="hang"> +FENDT, JACOB, born 1815, died 1849. +</p> + +<p class="hang"> +FENDT, FRANCIS. +</p> + +<p class="hang"> +FENDT, WILLIAM, Son of Bernard Simon, born 1833, died 1852. +</p> + +<p class="hang"> +All the Fendts have the reputation of being excellent workmen. +</p> + +<p class="hang"> +FICHTOLD, HANS, 1612, is said to have made good instruments. +</p> + +<p class="hang"> +FICKER, JOHANN CHRISTIAN, Cremona 1722. +</p> + +<p class="hang"> +FICKER, JOHANN GOTLIEB, Cremona 1788. +</p> + +<p class="hang"> +FLEURY, BENOIST, Paris, about 1720. +</p> + +<p class="hang"> +FLORENTUS, FLORINUS, Bologna, 1690. Followed the Amati patterns, and +has a good reputation in that style. +</p> + +<p class="hang"> +FORSTER, WILLIAM. The first Violin maker of this now celebrated name, +born 1713, died 1801. +</p> + +<p class="hang"> +FORSTER, WILLIAM, born 1739, died 1808. This maker was very celebrated +for his Violas and Violoncellos. He appears to have followed the +Steiner pattern in 1762, and the Amati pattern in 1772. His common +instruments were not purfled, second class purfled but still much +inferior to the third class, "in which," says an authority, "everything +was embodied to conduce to excellence and beautiful appearance and to +the finest tone;" and again, "his instruments are second to none in +merit and the best Europe has ever known, especially his amber coloured +Violoncellos, which are renowned for mellowness, volume, and power of +tone, equalled by few, surpassed by none." We need scarcely say that +this opinion is rather strongly expressed, and may be considered +partial. Without at all detracting from the real excellence of Wm. +Forster's instruments, which is very great, we may confidently assert +that the great Cremona Makers have had no rivals. Whether in power, +purity, and sweetness of tone—or beauty of wood and workmanship—the +best instruments of Nicholas Amati, Antonius Stradiuarius, and Joseph +Guarnerius have never yet been equalled. Wm. Forster's Violoncellos +have, however, (in England at any rate,) been held in high esteem both +by players and amateurs, and have realised good prices. +</p> + +<p class="hang"> +FORSTER, WILLIAM, the third of the name born 1764, died 1824, known as +young Forster. His instruments are not so good as those of his father, +but still excellent productions. +</p> + +<p class="hang"> +FORSTER, WILLIAM, the fourth of the name, born 1788, died 1824. A good +workman, but not equal to the second William Forster. +</p> + +<p class="hang"> +FORSTER, SIMON ANDREW, son of the above, born 1801, author, in +conjunction with William Sandys, F.S.A., of a most elaborate and +excellent work from which these particulars are taken, entitled +"History of the Violin and other Instruments played on with the Bow, +from the remotest times to the present." He is also like the rest of +the family, a maker and bears a good reputation. +</p> + +<p class="hang"> +FORSTER.—Of this noted family Dubourg in his amusing and interesting +book, "The Violin," speaks in complimentary terms. He says, "The +Forsters, old and young, grandfather and grandson, have, in their +department of art, a name that lives." +</p> + +<p class="hang"> +FOURRIER, NICHOLAS, born at Mirecourt. Settled in Paris, died 1816; +good maker, after the Cremona school. +</p> + +<p class="hang"> +FRITZCHE, SAMUEL, Leipsic, 1787, pupil of Hunger, and made similar +instruments. They are of the Italian model and have amber varnish. +</p> + +<p class="hang"> +FRITZ, BERTHOLD, Leipsic, 1757. +</p> + +<p class="hang"> +FRANKLAND, —— London, 1785. +</p> + +<p class="hang"> +FREY, HANS, Nuremberg, lute maker, 15th Century. +</p> + +<p class="hang"> +FURBER, DAVID, about 1700. +</p> + +<p class="hang"> +FURBER, MATTHEW, son of David, 1740. +</p> + +<p class="hang"> +FURBER, JOHN, grandson of David, 1759. +</p> + +<p class="hang"> +FURBER, MATTHEW, son of the above, died 1840. +</p> + +<p class="hang"> +FURBER, JOHN, son of Matthew, 1840. +</p> + + +<p class="head"> +G. +</p> + +<p class="hang"> +GABRIELLE, GIOVANNI, BAPTISTA, Florence, 18th Century, considered to be +a good Maker. +</p> + +<p class="hang"> +GAGLIANO, or GALIANO, ALESSANDRO, Naples, about 1710, is +generally reckoned as one of the pupils of Stradiuarius, but was more +probably only one of his imitators. He made some good instruments of +the Stradiuarius model, which possess a bright and sparkling tone; they +are, however, generally characterised by less power of tone, +Stradiuarius having in this particular the advantage over nearly all +his imitators, some of his personal pupils being perhaps the only +exceptions. +</p> + +<p class="hang"> +<span class="sc">Note.</span>—M. Fetis commences the line of the Gaglianos with +Nicolo, 1700, ten years earlier than Alessandro, whom he also calls +Gennaro, and ranks him as a maker formed under one of the immediate +pupils of Stradiuarius. +</p> + +<p class="hang"> +GAGLIANO, JANUARIUS, Naples, 1740. Son of Alessandro. +</p> + +<p class="hang"> +GAGLIANO, NICHOLAUS, Naples. Another son of Alessandro. +</p> + +<p class="hang"> +GAGLIANO, FERDINANDO, Naples, made to 1790. +</p> + +<p class="hang"> +GAGLIANO, GUISEPPE, Naples, 1790. +</p> + +<p class="hang"> +GAGLIANO, GIOVANNI, Naples. +</p> + +<p class="hang"> +GAGLIANO, ANTONIO, Naples. +</p> + +<p class="hang"> +GAGLIANO, RAPHAEL, Naples, son of Giovanni. +</p> + +<p class="hang"> +GAGLIANO, ANTONIO, Naples, son of Giovanni. +</p> + +<p class="hang"> +GAGLIANO FAMILY. +</p> + +<p class="indent"> +Most of the instruments made by the Gagliano family +possess a good quality of tone, and Amateurs who have no necessity for +that great power which Stradiuarius and Guarnerius conferred on their +best productions, will do well to secure any genuine Gagliano which +they may meet with, rather than risk the chance of getting less merit, +under a more pretentious name. +</p> + +<p class="hang"> +GALERZENA, —— Piedmont, 1790. +</p> + +<p class="hang"> +GAND, —— Paris. A first-rate maker. He was son-in-law to Lupot. +</p> + +<p class="hang"> +GARANA, MICHAEL ANGELO, Bologna. An excellent maker, about 1700, +considered by Fetis to be a pupil of one of those celebrated makers +formed in the Cremona schools. +</p> + +<p class="hang"> +GATTANANI, —— Piedmont, 1790. +</p> + +<p class="hang"> +GAVINIES, —— Paris, 18th Century. +</p> + +<p class="hang"> +GEDLER, JOHANN ANTONY, Fissen, Bavaria, 18th Century. +</p> + +<p class="hang"> +GEDLER, JOHANN BENEDICT, same place and same date. +</p> + +<p class="hang"> +GERANS, PAUL, Cremona, about 1615. +</p> + +<p class="hang"> +GERLE, JEAN, Nuremberg, about 1540. Made Lutes, Viols da Gamba, &c. +</p> + +<p class="hang"> +GILKES, SAMUEL, London, 1787 to 1827. Pupil of the Second William +Forster. An excellent maker. His work was most highly finished and his +varnish of a rich quality. +</p> + +<p class="hang"> +GILKES, WILLIAM, born 1811. Not equal as a maker to Samuel. +</p> + +<p class="hang"> +GIORDANE, ALBERTO, Cremona, 1735. +</p> + +<p class="hang"> +GOBETTI, FRANCISCO, Venezia, about 1700. A pupil of Stradiuarius, and +an excellent artiste. +</p> + +<p class="hang"> +GOFILLER, MATTEO, Venezia, about 1725. A good maker after Cremona +patterns. +</p> + +<p class="hang"> +GOFILLER, FRANCISCO, Venezia. Brother to Matteo, similar, same date. +</p> + +<p class="hang"> +GRAGNARIUS, ANTONIO, early part of 18th Century. +</p> + +<p class="hang"> +GRANCINO, GIOVANNI, Milan, middle of 17th Century. +</p> + +<p class="hang"> +GRANCINO, PAOLO, do. + do. +</p> + +<p class="hang"> +GRANCINO, GIOVANNI BAPTISTA, Milan, son of first named. +</p> + +<p class="hang"> +GRANCINO, GIOVANNI BAPTISTA, Milan, early in 18th Century. +</p> + +<p class="hang"> +GRANCINO, FRANCISCO, son of Giovanni Baptista. This artiste made to +about 1760, or rather later. +</p> + +<p class="hang"> +GRANCINO FAMILY.</p> + +<p class="indent"> +These makers produced some very good but not handsome +instruments. Lindley is said to have had a Violoncello by one of the +Grancinos, the tone of which was very fine and powerful, with light +yellow varnish darkened by age; the wood of back and sides very plain, +but the belly very fine. +</p> + +<p class="hang"> +GROBITZ, —— Warsaw, about 1750. Made some good instruments of the +Steiner model. +</p> + +<p class="hang"> +GUERSAN, —— Paris. An excellent maker, small model, careful finish, +and fine tone; about 1730. +</p> + +<p class="hang"> +GUGEMMOS, —— Fissen, Bavaria. +</p> + +<p class="hang"> +GUIDANTUS, GIOVANNI FLORENUS, Bologna, about 1750. An excellent maker. +</p> + +<p class="hang"> +GULETTO, NICHOLAS, Cremona, about 1790. +</p> + +<p class="hang"> +GUADAGNINI, LORENZO, Cremona, 1690 to 1720. Pupil of Stradiuarius and +highly esteemed as a maker. Followed the style of his celebrated +teacher. +</p> + +<p class="indent"> +Guadagnini is one of the makers especially recommended by Spohr when +one of the three great masters cannot be procured. A good specimen of +his work will always command a good price. +</p> + +<p class="hang"> +GUADAGNINI, LORENZO, Placentia and Milan, 1742. Made instruments +generally of the smaller model. Was a careful workman and finished his +instruments well, and used good varnish. +</p> + +<p class="hang"> +GUADAGNINI, BAPTISTA. Same places and about same dates, and made +similar instruments. +</p> + +<p class="hang"> +GUADAGNINI, GUISEPPE, Turin, 1751. +</p> + +<p class="hang"> +GUADAGNINI, GUISEPPE, Parma, 1793. +</p> + +<p class="hang"> +GUARNERIUS FAMILY.</p> + +<p class="indent"> +A more extended account of these great masters will +be found in a separate chapter. +</p> + +<p class="hang"> +GUARNERIUS, ANDREAS, Cremona, horn 1630, dates to 1680. Pupil of +Hieronymus Amati. +</p> + +<p class="hang"> +GUARNERIUS, GUISEPPE, son of Andreas, Cremona, dates from 1690 to 1730. +</p> + +<p class="hang"> +GUARNERIUS, PIETRO, another son of Andreas. Removed in the latter part +of his life from Cremona to Mantua. +</p> + +<p class="hang"> +GUARNERIUS, JOSEPH, nephew of Andreas. Known as Joseph to distinguish +him from his cousin of the same name, but who is generally known as +Guiseppe. Joseph was the great maker of the family, born 1683, died +1745, at Cremona. +</p> + + +<p class="head"> +H. +</p> + +<p class="hang"> +HARBOUR, —— London, 1785. +</p> + +<p class="hang"> +HARDIE, MATTHEW, Edinburgh, about 1820. Made some good instruments +which occasionally possessed great power, but not always very neat +finish. +</p> + +<p class="hang"> +HARDIE, THOMAS. Son of Matthew, Edinburgh, was also a good +workman—died in 1856, from accidentally falling down stairs. +</p> + +<p class="hang"> +HARE, JOSEPH, London, 1720, is said to have been the first in England +to introduce the flat model, all the makers before him and for some +time after, following the elevated model of Steiner. He also introduced +a varnish of greater transparency than was generally used at that time +in England. +</p> + +<p class="hang"> +HARRIS, CHARLES, London, about 1815. +</p> + +<p class="hang"> +HARRIS, CHARLES. Son of the above. +</p> + +<p class="hang"> +HART, JOHN, of Princes Street, Leicester Square, London, pupil of +Samuel Gilkes, is a maker; and restorer of instruments, in which latter +capacity we have pleasure in stating him to be worthy of the extensive +reputation he has acquired. He is also a great connoisseur in old +instruments, and has the honour of having formed most of the fine +collections in this country. The largest price ever given for a Violin +was for one imported by him and which from its beauty, model, varnish +and perfection of condition is known by the name of the King Joseph +Guarnerius. This instrument is considered quite unique and was sold for +700 guineas. The celebrated collection of Charles Plowden, Esq., which +embraces four fine instruments of Stradiuarius and four of Joseph +Guarnerius, and which is acknowledged to be the finest collection in +the world, was also formed by Mr. Hart. Mr. Plowden's taste being +highly cultivated, he rejects any instrument which is not of the very +highest order, and therefore it reflects great credit on Mr. Hart's +judgment to have succeeded in placing so many fine instruments in the +collection of so critical a connoisseur. We shall have occasion to +mention other celebrated instruments in the Chapters on the Great +Masters of the Art. +</p> + +<p class="hang"> +HASSERT, —— Rudolstadt, 18th Century. Made instruments of a high +model, which though he used good wood and finished them carefully, did +not possess very good tone. Very few makers have succeeded in imparting +superior tone to high built instruments. +</p> + +<p class="hang"> +HASSERT, ——, Eisenach, 18th Century, brother of the above—adopted a +different system, and followed the flatter model of the Cremona School +with considerable success. His instruments are remarkable for beautiful +wood, and Otto speaks very highly of them, saying that many of them can +only be distinguished from the genuine Italians by experienced judges. +In the present day we think Otto was partial to his own countrymen's +work, and that there are very few German instruments which can be taken +for Italian by judges. +</p> + +<p class="hang"> +HEESOM, EDWARD, London, 1750. +</p> + +<p class="hang"> +HELMER, CHARLES, Prague, 1740. This artiste was a pupil of Eberle, and +is considered a careful workman, but used too light a bass bar, which, +unless a stronger one be substituted, depreciates the character of his +instruments. +</p> + +<p class="hang"> +HILDEBRANT, MICHAEL CHRISTOPHER, Hamburg, 1765. Esteemed as a good +maker. +</p> + +<p class="hang"> +HILL, WILLIAM, London, 1740. Made some good instruments, but they are +said to be deficient in quality in consequence of being built on a +wrong principle, the centres having too little wood. +</p> + +<p class="hang"> +HILL, JOSEPH, London, 1770, brother of the above. Reckoned a superior +maker to his brother, and produced some very excellent Violoncellos +which obtained him a good reputation, and caused him to be classed high +among English makers, but like the others, he is now depreciated in +value below his real merits. +</p> + +<p class="hang"> +HIRCUTT, —— English maker, about 1600. +</p> + +<p class="hang"> +HOFFMAN, MARTIN, Leipsic, is said to be chiefly known as a skilful lute +maker. His Tenors are considered good, and Otto says his violins have +an excellent quality of tone when unspoiled, but are not esteemed on +account of their ungraceful appearance. +</p> + +<p class="hang"> +HOLLOWAY, J., London, 1794. +</p> + +<p class="hang"> +HORIL, —— (Italian) about 1720. +</p> + +<p class="hang"> +HULLER, AUGUSTINE, Shœneck, 1775. +</p> + +<p class="hang"> +HUME, RICHARD, Edinburgh. An early English lute maker; about 1530. +</p> + +<p class="hang"> +HUNGER, CHRISTOPHER FREDERICK, Leipsic, 1787. A good maker who followed +the Italian style, used good wood and amber varnish. This maker is +classed among the superior German artistes, and his instruments are +said to be beautiful. +</p> + + +<p class="head"> +J. +</p> + +<p class="hang"> +JACOBS, —— Amsterdam, 18th Century. This maker imitated the Amatis +and produced some good instruments after their Models which also +partook of their sweet tone but had little power. One authority we have +consulted calls this maker a pupil of Amati, and states that he used +whalebone purfling. +</p> + +<p class="hang"> +JAYE, HENRY, London, 1615. Of this maker we have not been able to find +any account unless it be to him that Mace (1676,) refers when he says, +speaking of the makers of Viols, "Of such there are no better in the +world, than those of Aldred, Jay, Smith" &c. He was certainly an +excellent maker judging from an instrument we have seen which has been +converted into a small Violoncello with four strings. It is handsomely +finished, with ornamental purfling and good varnish and a well carved +head. As a small violoncello the tone is also very good. Dated "in +Southwarke," 1615. +</p> + +<p class="hang"> +JAY, THOMAS, London, about 1700. +</p> + +<p class="hang"> +JAY, HENRY, London, 1750. It appears that this artiste was best known +as a maker of Kits, which were very well made and for which he obtained +the extraordinary price in those days of five pounds each. When we +remember that four pounds was the price that Stradiuarius got for his +best violins in his life time, and from an anecdote told by Mr. +Forster, that Cervetto could not even get that price for some he got +direct from the maker, we see one of those extraordinary freaks of +fashion for which, to use the expression of my Lord Dundreary, no +fellow can account. +</p> + +<p class="hang"> +JAUCH, —— Dresden, about 1765, is said to have made good instruments +on Cremona models, and is generally placed among the good German +makers. +</p> + +<p class="hang"> +JOHNSON, JOHN, London, 1753. +</p> + +<p class="hang"> +JULIANO, FRANCISCO, Rome, 1700. +</p> + + +<p class="head"> +K. +</p> + +<p class="hang"> +KAMBL, JOHANN, CORNELIUS, 1635. +</p> + +<p class="hang"> +KENNEDY, ALEXANDER, London, died 1785, and considered to be about 90 +years of age. This artiste obtained considerable reputation for good +and neat work. He followed the Steiner model, and used yellow varnish. +It is not known that he made any other instruments than violins. +</p> + +<p class="hang"> +KENNEDY, JOHN, London, died in 1816, and considered to be 86 years of +age. Made violins and tenors of the Steiner model. +</p> + +<p class="hang"> +KENNEDY, THOMAS, son of John, London, bears the reputation of a good +and neat artiste, and is said to have made at least 300 violoncellos +and other instruments in proportion. +</p> + +<p class="hang"> +KEKLIN, JOAN, Brescia, about 1450. This artiste is believed by some +inquirers to be the earliest maker of the violin proper, but Fetis says +that the only instrument of his that is known, and which was in the +possession of Koliker of Paris, and dated 1449, was not really a +violin, but a viol with changed neck and mounted with four strings. It +would appear, therefore, that the merit of the actual introduction of +the real violin belongs properly to Gaspar di Salo. +</p> + +<p class="hang"> +KIAPOSSE, SAWES, Petersburg, 1748. +</p> + +<p class="hang"> +KLOTZ, MATTHIAS, Tyrolese, about 1675, considered by Fetis to have been +a pupil of Steiner, and the first violin maker of this well known name. +He made some instruments, which established his reputation as a careful +artiste. +</p> + +<p class="hang"> +KLOTZ, EGITIA. This maker, who appears to have been a son of Matthias, +is often considered to be the best maker of this Family. He is commonly +called the pupil of Steiner, but that must be doubtful. More probably +he followed the Steiner traditions as exemplified by his father. He +used amber varnish, good wood, and his instruments are well made and +have his own name upon them. +</p> + +<p class="hang"> +KLOTZ, GEORGE, brother of Egitia. +</p> + +<p class="hang"> +KLOTZ, SEBASTIAN, another brother. We believe this artiste to be the +best maker of the Klotz family. He built large sized violins, which +possess a fine tone and have excellent varnish. +</p> + +<p class="hang"> +KLOTZ, MICHAEL,—1771. +</p> + +<p class="hang"> +KLOTZ, JOSEPH, son of Egitia, Mittenwald an der Iser, 1774. Otto says +this artiste built after his father's system—but was better acquainted +with the qualities of wood, and his instruments are therefore superior +in tone, but are badly varnished in their original state. +</p> + +<p class="hang"> +THE KLOTZ FAMILY.</p> + +<p class="indent"> +Spohr enumerates Klotz among the makers whose instruments are worthy +of attention, but does not indicate which of them in particular. We +have before expressed our opinion that Sebastian ranks highest in +merit, which is corroborated by the most experienced connoisseur of +the present day. Some violins of this name have achieved a high +reputation. Parkes, in his "Musical Memoirs," mentions a Klotz Violin +belonging to Mr. Hay, the Leader of the King's Band, for which a Noble +Lord offered £300 and an annuity of £100. This seems a most +extraordinary offer, for any instrument, unless it were a very fine +Stradiuarius or Guarnerius. +</p> + +<p class="hang"> +KOHL, JEAN, Munich, Luthier to the Court, about 1570. Fetis states that +from some old accounts he finds he was paid two florins for a lute, a +strange discrepancy in value from the statement of Mace a century +later.—(See Bolles.) +</p> + +<p class="hang"> +KOLDITZ, MATTHIAS JOHANN, Munich, 1722. +</p> + +<p class="hang"> +KOLDITZ, JAQUES, Rumbourg, in Bohemia, 1790; said to be very good. +</p> + +<p class="hang"> +KOLIKER, —— Paris, a noted maker and collector, about 1750. +</p> + +<p class="hang"> +KNITTING, PHILIP, Mittenwald, 1760. +</p> + +<p class="hang"> +KNITL, JOSEPH, Mittenwald, 1790. +</p> + +<p class="hang"> +KRINER, JOSEPH, Mittenwald, 1785. +</p> + + +<p class="head"> +L. +</p> + +<p class="hang"> +LACASSO, ANTONIO MARIA, Milan, probably the same as Lausa. +</p> + +<p class="hang"> +LAGETTO, Paris, about 1650. Followed the Amati patterns. +</p> + +<p class="hang"> +LAMBERT, JOHANN HENRY, Berlin, 1760. +</p> + +<p class="hang"> +LAMBERT, —— Nancy, 1760. A prolific but not very careful maker, which +gained him the name of the Lute Carpenter. +</p> + +<p class="hang"> +LANDOLPHI, CARLO, Florence, 1750. An excellent maker, who followed the +Cremona patterns with considerable success. +</p> + +<p class="hang"> +LANDOLPHI, FERDINAND, Milan, about same date. +</p> + +<p class="indent"> +There appears to be some doubt whether there was more than one +Landolphi, his name being Carlo Ferdinand, but being mentioned as of +both Florence and Milan, and the Christian names given separately, +there may have been two. Fetis only mentions Carlo, and locates him at +Milan. +</p> + +<p class="hang"> +LAUSA, ANTONIO MARIA, 1675. A capital imitator of Magini and Gaspar di +Salo's instruments, but is said not to have succeeded in rivalling them +in tone. +</p> + +<p class="hang"> +LAUTTEN, L. W. No particulars of this maker; but we find a violin by +him in a Catalogue, described as "fine and handsome." +</p> + +<p class="hang"> +LECLERC, —— Paris, 18th Century. +</p> + +<p class="hang"> +LENTZ, JOHANN NICHOLAUS, London, about 1800. Considered a good workman. +</p> + +<p class="hang"> +LEWIS, EDWARD. London, about 1700. An excellent maker, used good wood, +fine varnish, chiefly of a yellow colour, and was notable for his +excellent finish. +</p> + +<p class="hang"> +LINELLI, or LINAROLLA, —— Venezia, about 1520. A maker of rebecs, +viols, and viols da gamba. +</p> + +<p class="hang"> +LOTT, JOHN FREDERICK, London, born 1775, died 1853. An excellent +workman, who made many instruments for Thomas Dodd. He is also very +generally known as a first-rate double bass maker. +</p> + +<p class="hang"> +LOTT, GEORGE FREDERICK, son of the above, was also an excellent +workman, and is said to have been chiefly employed by dealers. +</p> + +<p class="hang"> +LOTZ, THEODORE, Prestburg, about 1735, has a good reputation as a maker +of violins. +</p> + +<p class="hang"> +LUPOT, FRANCOIS, Stuttgard, about 1770. +</p> + +<p class="hang"> +LUPOT, NICHOLAS, son of Francois, born at Stuttgard, 1758; went to +Orleans, 1786, and Paris, 1794; died 1824. This artiste deserves the +title of the King of the French makers. He followed the model of +Stradiuarius, used excellent wood and good varnish, much in the style +of that master. His violins are very fine in tone and resemble the +Italian more than any other maker's. Tolbecque, the violinist has two +very fine specimens. His instruments have been frequently selected by +the French Conservatoire as prizes for their pupils. They now fetch +high prices. Dubourg calls him "a studious artist, whose instruments +are in request when a good Cremona is unattainable." He also says, +"sixty guineas have been refused for one of his best violins." Spohr in +his "Violin School," also recommends his instruments. This artiste +published a work on the construction of violins, called "La Chelonomie, +on le parfait Luthier." +</p> + + +<p class="head"> +M. +</p> + +<p class="hang"> +MAGGINI, GIOVANNI PAOLO, Brescia, 1590 to 1640. This celebrated artiste +was a pupil of Gaspar di Salo. His instruments are highly esteemed, and +are both rare and valuable. They are generally of a large pattern, with +elevated model, reaching almost to the edges; narrow ribs, double +purfling, frequently ending on the top and bottom of the back with an +ornament in the shape of a leaf—and fine yellowish brown or golden +coloured varnish, of good quality. Some few are said to have deep brown +varnish. They possess a tone of a peculiar character—deep, solemn, and +somewhat plaintive. Dubourg describes it as "less soft than that of a +Stradiuarius, and less potent than a Guarnerius, approaching that of a +viol, and has in it a touch of melancholy." From their size these +instruments had not been in great favour with violinists until the +celebrated DeBeriot introduced one, which from its splendid tone +brought them at once into esteem, and for which he has been offered +almost fabulous sums. +</p> + +<p class="hang"> +MAGGINI, PIETRO SANTO, Brescia, son of Giovanni Paolo, 1630 to 1680. +Followed the same style as his father, but was more particularly famous +for his double basses, which the Italians consider to be the best ever +made, after those of Gaspar di Salo. +</p> + +<p class="hang"> +MAIER, ANDREA FERDINAND, Salzburg, 1746. Little is known of this maker +except that he made the small instrument on which the immortal Mozart +first learned to play the violin, which event, could he have foreseen, +would no doubt have compensated him for the want of more general fame. +</p> + +<p class="hang"> +MALDONNER, —— Bavaria, about 1760. +</p> + +<p class="hang"> +MALLER, LAUX, Venice. This artiste was an early and highly esteemed +maker of lutes. Mace in his curious and very interesting book, "Music's +Monument," mentions him as one of the best authors, <i>i.e.</i> makers. +He also says he has "seen two of his lutes ('pittiful, battered, +cracked Things,') valued at £100 apiece." Mace's book was published in +1676. Think of £100 for a lute two hundred years ago, when the value of +money was at least six times less than it is now! This would make the +comparative value of a "battered" old lute about £600, a sum (with the +exception of the King Joseph Guarnerius, mentioned elsewhere) exceeding +the highest price we have heard of in modern times. Even the most +splendid and perfect violins of Stradiuarius have never realised as +much as this "pittiful battered lute!" In the face of this fact (as we +suppose it is) we cannot be surprised that enthusiastic amateurs should +in the present day give such large prices for the splendid productions +of the great Cremona Makers. +</p> + +<p class="hang"> +MARIANI, ANTONIO, Pesaro, 1570 to 1620. An imitator of Gaspar di Salo. +</p> + +<p class="hang"> +MARATTI, —— Verona, 1690. Made good toned violins, but the +workmanship has little character. +</p> + +<p class="hang"> +MARQUIS DE LAIR, —— A French maker about 1800. +</p> + +<p class="hang"> +MARSHALL, JOHN, London, 1760. +</p> + +<p class="hang"> +MARTIN, —— London, 1790. +</p> + +<p class="hang"> +MAUCOTEL, CHARLES, London. An excellent workman, who has produced some +beautiful instruments. +</p> + +<p class="hang"> +MAUSIELL, LEONARD, Nuremburg, 1725. A capital imitator of Steiner, +whose style he followed so closely as to render it (as it is stated) +difficult to distinguish the one from the other. This is one of the +makers praised by Spohr in his "Violin School," as worthy attention +when a good Cremona cannot be got. +</p> + +<p class="hang"> +MAYRHOF, ANDREA FERDINAND, Salzburg, 1740. +</p> + +<p class="hang"> +MEDARD, HENRY, Paris and Nancy. A French maker, who is generally +considered to have been a pupil of Nicholas Amati, and was esteemed +nearly equal to his master; but Fetis includes him in his list of the +personal pupils of Antonius Stradiuarius. +</p> + +<p class="hang"> +MERLIN, JOSEPH, London, about 1780. A very ingenious person, who +obtained the honour of being mentioned in Madame D'Arblay's "Diary and +Letters." His violins were after the Steiner pattern, and well made, +but did not approach the Steiner tone. +</p> + +<p class="hang"> +MEUSIDLER, JEAN, Nuremberg, about 1540. A maker of viols, viols da +gamba, &c. +</p> + +<p class="hang"> +MEZZADIE, ALEXANDER, Ferrara, about 1700. A good maker who followed the +Amati style, and is reckoned by Fetis as one of that school. +</p> + +<p class="hang"> +MIER, —— London, 1786. +</p> + +<p class="hang"> +MILANI, FRANCISCO, Milan, is supposed to be a pupil of Guadagnini and +followed his style,—about 1760. +</p> + +<p class="hang"> +MILLER, —— London, about 1750. +</p> + +<p class="hang"> +MOHR, PHILIP, Hamburg, 1650. +</p> + +<p class="hang"> +MONTADE, GREGORIO, Cremona, 1735. Considered to be a pupil of +Stradiuarius, but more probably an imitator. +</p> + +<p class="hang"> +MONTAGNANA, DOMINICO, Venezia, 1725. This excellent artiste made +instruments generally of a large size, and used wood of a large and +beautiful figure. The varnish exceedingly brilliant and of a rich +yellow or yellow red colour, and the tone everything that can be +desired. Mr. Perkins had a violoncello of this make, which was +originally sold as a Joseph Guarnerius, and was said in the catalogue +to be uncommonly fine and handsome. This is another of those careful +artistes, whose productions are now in high esteem when one of the +three great masters cannot be obtained, and which will very probably +hereafter rank with them and become very famous. +</p> + +<p class="hang"> +MORRISON, JOHN, London, 1780 to 1819. +</p> + +<p class="hang"> +MORELLA, MORGLATO, Mantua, about 1550. Famous for rebecs, viols, and +viols da gamba. +</p> + + +<p class="head"> +N. +</p> + +<p class="hang"> +NAMY, —— Paris, about 1800. +</p> + +<p class="hang"> +NAYLOR, ISAAC, Leeds, 1788. +</p> + +<p class="hang"> +NEWTON, ISAAC, 1780. +</p> + +<p class="hang"> +NICHOLAS, —— Geneva, 1790. +</p> + +<p class="hang"> +NIGGEL, SYMPERTUS, Paris, about 1650. +</p> + +<p class="hang"> +NORMAN, BARAK, London, 1690 to 1740. He generally used a monogram +formed of the letters NB. interlaced. This artiste has long been a +favourite, and he certainly made some good instruments, which in the +present day are depreciated below their real worth, as is the case also +with other English makers, whose productions have had to give way +before the prevailing preference for Italian instruments. He was +partner at one time with Nathaniel Cross, and the instruments then made +bear their joint names on the labels. +</p> + +<p class="hang"> +NORRIS AND BARNES, pupils of Thomas Smith, 1785 to 1818. +</p> + +<p class="hang"> +NOVELLO, VALENTINO, Venezia, about the middle of 18th Century. +</p> + +<p class="hang"> +NOVELLO, MARCO ANTONIO, Venezia, same date. Both these makers are in +good esteem. +</p> + + +<p class="head"> +O. +</p> + +<p class="hang"> +OBUE, BARTOLOMEO, Verona. +</p> + +<p class="hang"> +ODOARDI, GUISEPPE, early 18th Century. +</p> + +<p class="hang"> +OTT, JEAN, Nuremberg. Lute maker, 15th Century. +</p> + +<p class="hang"> +OTTO, JACOB AUGUSTUS, born at Gotha, 1762, died 1830. Author of the +celebrated Book on the Construction of the Violin. He made some good +instruments which, in his book he says he "proved" by a machine which +played them in thirds, fourths, and fifths for a continued period, thus +mellowing and perfecting the tone. We do not believe in this doctrine. +From all past experience, there can be no doubt that whatever pains or +trouble a maker may take to bring his instruments, while new, to bear +the character of old, his labour is quite useless. There is no instance +of an instrument becoming famous for its fine tone till it had attained +a good old age. Some modern makers use chemical means to mature their +violins; but this process is utterly destructive to them, as they +become quite rotten through the action of the acid after a lapse of +years. Time alone can ripen and mellow all musical instruments made of +wood, the violin and the organ especially. +</p> + + +<p class="head"> +P. +</p> + +<p class="hang"> +PANORMO, VINCENZIO, born near Palermo, 1734. He appears to have left +his native place, and after a temporary sojourn in several towns came +to England about 1772, and died in 1813. He was an excellent artiste. +His instruments are carefully constructed on Cremona models, and +possess a fine tone. He made a few violoncellos which are highly +prized, their tone being extremely rich and powerful. They are of the +Stradiuarius pattern, mostly of handsome maple for the back and ribs. +All his instruments are of a good Italian quality of tone, and are +among those which are rising in value as the great masters become rarer +and dearer. +</p> + +<p class="hang"> +PANORMO, JOSEPH, son of Vincenzio, also a good workman. +</p> + +<p class="hang"> +PANORMO, GEORGE LEWIS, another son of Vincenzio, a celebrated bow +maker. +</p> + +<p class="hang"> +PANORMO, Edward. +</p> + +<p class="hang"> +PANORMO, GEORGE, probably grandson of Vincenzio. +</p> + +<p class="hang"> +PAMPHILON, EDWARD, London, 1685. A very clever artiste. Made violins of +rather small model, somewhat high built, rich yellow varnish, and +sometimes double purfled. The Editor has known one of his instruments, +which was in the hands of a rich amateur, in whose house he has heard +it played and very much approved. +</p> + +<p class="hang"> +PANSANI, ANTONIO, Rome, 1785. +</p> + +<p class="hang"> +PARKER, DANIEL, London, 1714, is considered one of the good old English +makers. His instruments have a clear and powerful tone. A first-rate +authority calls him an excellent workman; another says though he was +otherwise good he used a bad brick red varnish. +</p> + +<p class="hang"> +PASTA, GAETANO, Brescia, early in 18th Century. +</p> + +<p class="hang"> +PASTA, DOMINICO, Brescia, same date. Said to have followed the Amati +patterns, and deserted the Brescian standard of Gaspar di Salo and +Maggini. +</p> + +<p class="hang"> +PEARCE, JAMES and THOMAS, London, 1780. +</p> + +<p class="hang"> +PEMBERTON, J., London, 1580. An English maker of considerable talent. +Is supposed to have been the maker of the instrument presented by Queen +Elizabeth to the Earl of Leicester. +</p> + +<p class="hang"> +PFRETZSCHNER, GOTTLOB, Cremona, 1749. +</p> + +<p class="hang"> +PFRETZSCHNER, CARL FREDERICK, Cremona. +</p> + +<p class="hang"> +PICHOL, —— Paris. +</p> + +<p class="hang"> +PIQUE, —— Paris. An excellent maker, and the master of Lupot. Spohr +recommends Pique's instruments, and Dubourg says they were given as +prizes by the French Conservatoire in the beginning of the present +Century. +</p> + +<p class="hang"> +PIERRAY, or PIERRET, CLAUDE, Paris. A charming workman. His violins +have been frequently mistaken for Italian by inexperienced judges. They +are of a deep red colour and finely finished, with an excellent quality +of tone. +</p> + +<p class="hang"> +PIETE, NOEL, Paris, about 1785, pupil of Saunier. An artiste well +spoken of. +</p> + +<p class="hang"> +PLACK, FRANCIS, Schœnback, 1738. Considered a good maker. +</p> + +<p class="hang"> +POLLUSHA, ANTONIO, Rome, 1751. +</p> + +<p class="hang"> +PONS, —— Grenoble, France, 1787. Made large pattern violins with high +model, which have no great value. +</p> + +<p class="hang"> +POSSEN, LAUXMIN, Bavaria, about 1540. Made rebecs, viols, and viols da +gamba. +</p> + +<p class="hang"> +POWELL, ROYAL and THOMAS, London, 1785. +</p> + +<p class="hang"> +PRESTON, JOHN, York, 1789. +</p> + + +<p class="head"> +R. +</p> + +<p class="hang"> +RACCERIS, —— Mantua, 1670, believed to have been a partner with one +of the Gaglianos, and made similar instruments. +</p> + +<p class="hang"> +RAF, —— Bavaria. +</p> + +<p class="hang"> +RAMBEAUX, —— Paris, a pupil of Gand, and an excellent workman. +</p> + +<p class="hang"> +RAPHAEL, NELLA, Brescia, 18th Century. This artiste was of the school +of Maggini, and his instruments are said to have the scrolls +sculptured, and to have inscriptions on the sides. +</p> + +<p class="hang"> +RAUCH, JAQUES, Mannheim, 1730 to 1740. Considered to be a very good +maker. +</p> + +<p class="hang"> +RAUCH, SEBASTIAN, 1742 to 1763. +</p> + +<p class="hang"> +RAUCH, —— Breslau. +</p> + +<p class="hang"> +RAUCH, —— Wurtzburg. +</p> + +<p class="indent"> +Otto praises the instruments of the two brothers of Breslau and +Wurtzburg. He says they are excellent violins but have a shape and +model peculiar to themselves and entirely different to the Italian or +Steiners, but possess when uninjured a full, round and powerful tone. +If Otto had told us what instruments were like instead of what they +were not like, his book would have been more valuable. +</p> + +<p class="hang"> +RAUT, JEAN, Bretagne. He was at Rennes till 1790. Made good instruments +after the Guarnerius school. +</p> + +<p class="hang"> +RAYMAN, JACOB, London, 1641. The instruments of this maker were very +highly valued formerly. He is considered one of our best old English +artistes. +</p> + +<p class="hang"> +REICHEL, JOHANN GOTTFRIED, Absom. An imitator of Steiner. +</p> + +<p class="hang"> +REICHEL, JOHANN CONRAD, Neukirch, 1779. +</p> + +<p class="hang"> +REISS, —— Bamburg. A capital imitator of Steiner, and made excellent +instruments. +</p> + +<p class="hang"> +REMY, —— Paris. +</p> + +<p class="hang"> +RENISTO, —— Cremona, 1740, pupil of Carlo Bergonzi. His instruments +are very similar to those of his master, but rather higher modelled, +and the workmanship somewhat rougher. +</p> + +<p class="hang"> +RETANTINO, —— No particulars of this maker. +</p> + +<p class="hang"> +RIMBOUTS, PETER, Amsterdam. +</p> + +<p class="hang"> +ROOK, JOSEPH, London, 1777 to 1852. A good workman, who imitated +Forster. +</p> + +<p class="hang"> +ROSS, JOHN, 1562. An early maker of lutes. +</p> + +<p class="hang"> +ROTH, CHRISTIAN, Augsburg, 1675. +</p> + +<p class="hang"> +ROVELIN, —— 18th Century. +</p> + +<p class="hang"> +RUDGER, —— Cremona—not one of the Ruggeri Family. Made some good +instruments of the high build, and deep sides, and used fine varnish. +</p> + +<p class="hang"> +RUGGERI, FRANCISCO, Cremona, 1640 to 1684. This celebrated maker is +considered to have been a pupil of Antonius Amati, and made many +excellent instruments which bear a high reputation. They rank next to +the Amati. Their quality is similar, and the style of work is easily +seen to belong to the same class. There are a few violins by this maker +of the same pattern as the Grand Amatis, which are said to surpass the +latter, having more wood in them, which was detrimental when they were +made, but which age has mellowed, and they now possess a strong and +free vibration. Many of the Ruggeris have varnish little inferior to +that of Stradiuarius and Guarnerius. This artiste ranks highest in the +family in the estimation of the connoisseur. His work is extremely +clean. The next is Giovanni Baptista, rather higher built and sound +holes rather broader. The scrolls are larger than those of Amati but of +the same type, There are many splendid violoncellos of these makers and +a few tenors. Some of the former are very large. Francisco Ruggeri is +mentioned by Spohr in his list of instruments to be sought for in the +absence of the three great makers, Nicholas Amati, Antonio Stradiuarius +and Joseph Guarnerius. +</p> + +<p class="hang"> +RUGGERI, GUIDO, Cremona, 1679. +</p> + +<p class="hang"> +RUGGERI, GIOVANNI BAPTISTA, son of Francisco. Brescia, 1690. Mentioned +above. +</p> + +<p class="hang"> +RUGGERI, PIETRO GIACOMO. Brescia 1700 to 1720. The celebrated +violoncellist Piatti plays on an instrument by this maker, and the tone +is uncommonly fine and sonorous as all who have heard him know. +</p> + +<p class="hang"> +RUGGERI, VINCENZIO, Cremona, 1700 to 1730. +</p> + +<p class="hang"> +RUPPERT, FRANCIS, Erfruth, made some excellent instruments of a very +flat model, but generally omitted the linings and corner blocks as well +us the purfling. They are nevertheless esteemed in Germany. They have a +dark brown amber varnish. +</p> + + +<p class="head"> +S. +</p> + +<p class="hang"> +SAINT, PAUL. Paris, about 1650. An excellent French maker. +</p> + +<p class="hang"> +SALO, GASPAR DI, Brescia, dates from 1560 to 1610. This celebrated +artiste was the contemporary of the ancient Amatis, and is thought by +some connoisseurs to have been the master of Andrew. However that may +be, as there can be no certainty of the fact, the varnish on which the +great Cremonese makers established that notable reputation which +distinguishes them to the present day, bears a strong analogy to that +of Gaspar di Salo, however they may have derived it. In this respect, +also, Gaspar excels Maggini, his pupil and follower, who was evidently +not initiated into the secret of making that excellent varnish which +characterises his master. +</p> + +<p class="indent"> +The pattern of the instruments which the two early and famous chiefs of +the Cremonese and Brescian Schools built, is however totally different. +Those of Gaspar are large, massive, double purfled, and with large +sound holes. Andrew is noted for a small pattern, and if he studied in +the Brescian workshop, he discarded the style he found there (varnish +excepted) and aimed at altogether a different object in his own +productions. Those of Gaspar di Salo are constructed with capacity and +strength to produce a considerable volume of tone. The Cremonese +Artiste on the other hand, made instruments which, both in their +proportions and adjustment, were especially adapted for the production +of a sweet but not powerful tone. Gaspar's instruments seem to +foreshadow in their tone and power, those of Stradiuarius and Joseph +Guarnerius, while the Amatis seem generally to have been contented with +producing a tone of surpassing sweetness. Gaspar also succeeded in +giving to his productions that fine tone which seems to have been +especially aimed at by the early makers, but as he also from the size +and strength of his instruments, produced more tone, he may be +considered far the superior of Andrew, the first of the Amatis. It is +on this account that in the present day, Gaspar di Salo is esteemed as +the greatest maker of his time, and connoisseurs value his instruments +accordingly. +</p> + +<p class="indent"> +There are not many violins by this great master, but of tenors and +double basses more. These are very fine and rich in tone. He was not +however famous for giving so very high a finish to his works as was +afterwards attained at Cremona. His violins are described as rather +long, and with a gentle elevation from the sides to the centre. The +sound holes straight and large, well cut and parallel, and double +purfling. The varnish is generally of a rich brown. These are the chief +external characteristics, but they have always possessed that "which +passeth show," and commanded the esteem of the dilettanti in that rich +quality of tone which is the first essential in a perfect instrument. +</p> + +<p class="indent"> +Signor Dragonetti, the greatest double bass player of our day, used one +of Gaspar's instruments, which was presented to him on account of their +admiration of his wonderful talent, by the order of the Convent of St. +Mark at Venice. Shortly before his death the Duke of Leinster offered +him £700 for it, a princely sum, but it was refused, as Dragonetti did +not feel justified in parting with it, and he ordered in his will that +it should be returned to the convent at Venice, which was accordingly +done. Ole Bull has a very celebrated violin of Gaspar's make. In the +first place, it was sculptured with Caryatides, by the great Florentine +artist, Benvenuto Cellini, at the special command of another eminent +person, Cardinal Aldobrandini, who presented it to the museum of +Inspruck in the Tyrol. In 1809 that city was assaulted by the French, +the museum was plundered, and this violin carried to Vienna, where it +became the property of another notable person, the Councillor Rehazek, +who was famous for his collection of ancient musical instruments. He +left it by will to another still more celebrated person, Ole Bull, the +distinguished Norwegian violinist, by whom it was exhibited in London +in 1862, and with whom it still remains. To our description of Gaspar's +instruments we should add that his tenors and double basses are of a +rather broader form than his violins. +</p> + +<p class="hang"> +SALLE, —— Paris, 1800. This artiste was an excellent workman, and +famous also as a judge of old instruments. +</p> + +<p class="hang"> +SANONI, GIOVANNI BAPTISTA, Verona. +</p> + +<p class="hang"> +SANTI, GIOVANNI, Naples, 1730. +</p> + +<p class="hang"> +SANCTUS SERAPHINO, Venezia, about 1730. An excellent workman, whose +instruments possess almost the beautiful finish of Stradiuarius. He +used handsome wood of small figure, and his varnish is often beautiful +in the extreme. The model however approaches that of the Steiner +school, and the tone is therefore generally wanting in fullness and +roundness. He made also a few violoncellos with similar +characteristics. +</p> + +<p class="hang"> +SAPINO, —— Cremona. Pupil of Guiseppe Cappa, made instruments after +the style of the Amati. +</p> + +<p class="hang"> +SANZO SANTINO, —— Milan. +</p> + +<p class="hang"> +SAUNIER, —— born in Lorraine 1740. An excellent artiste whose +instruments are reckoned among the best of the French school. +</p> + +<p class="hang"> +SCHEINLEIN, MATTHIAS FREDERICK, Langenfeld, born 1710, died 1771. +</p> + +<p class="hang"> +SCHEINLEIN, JEAN MICHAEL, Langenfeld, born 1751. Made instruments which +are said to be good but not strongly built. +</p> + +<p class="hang"> +SCHMIDT, —— Cassel, mentioned by Otto as living in 1817, and praised +by him as an excellent maker. His instruments are of the flat model of +Stradiuarius but have the edges larger and the purfling further from +the sides. +</p> + +<p class="hang"> +SCHONGER, FRANCIS, Erfurth, made high modelled instruments, but of poor +tone. +</p> + +<p class="hang"> +SCHONGER, GEORGE, Erfurth, son of the above, modelled his instruments +in the Italian style and produced some very superior examples. +</p> + +<p class="hang"> +SCHORN, JACOB, Salzbourg. +</p> + +<p class="hang"> +SCHORN, JOHANN, Inspruck, 1688. +</p> + +<p class="hang"> +SCHOTT, MARTIN, Prague. +</p> + +<p class="hang"> +SHAW, —— London, 1656. +</p> + +<p class="hang"> +SIMPSON, JOHN, London, 1790. +</p> + +<p class="hang"> +SIMPSON, J. and J., son of the above. +</p> + +<p class="hang"> +SIMON, —— Salzbourg, 1722. +</p> + +<p class="hang"> +SIMON, —— Paris. +</p> + +<p class="hang"> +SMITH, HENRY, London, 1629. This may be a celebrated maker of viols, +&c., mentioned by Mace, 1676, as one of the best then known. +</p> + +<p class="hang"> +SMITH, THOMAS, London, 1756 to 1799. This well known maker was a pupil +of Peter Wamsley. His violoncellos are of the Steiner model, and some +of them possess considerable power, and were formerly highly esteemed, +but they are now considered to be deficient in quality and wanting in +the rich fine tone of the Italian artistes. Notwithstanding, they are +still favourites in the country; the editor knows two of his +violoncellos which have been respectively sold for £30 and £40 within a +few years. +</p> + +<p class="hang"> +SMITH, WILLIAM, London, 1771. +</p> + +<p class="hang"> +SOLOMON, —— pupil of Bocquay, a good French artiste. +</p> + +<p class="hang"> +SPEILER, —— 18th Century. +</p> + +<p class="hang"> +STADELMANS, DANIEL, 1744, Vienna. +</p> + +<p class="hang"> +STADELMANS, JOHANN JOSEPH, Vienna, 1784. Fame speaks very highly of +this maker, who closely imitated Jacob Steiner and ranks next to him +among the German makers. +</p> + +<p class="hang"> +STEINER, JACOB, of Absom in the Tyrol, born about 1620, date of death +not known, but at about the age of seventy retired to a Convent. +</p> + +<p class="indent"> + See separate chapter on this celebrated artiste. +</p> + +<p class="hang"> +STOSS, FRANCIS, Bavaria. +</p> + +<p class="hang"> +STORIONI, LORENZO, Cremona, living in 1782, said to be the last of the +great Cremona makers. Forster says his instruments resemble those of +Joseph Guarnerius, and that Vieuxtemps' solo violin in 1861, was by +this master, and was very much admired. His violoncellos are very +powerful. The author knows a violin which an authority says is by +Storioni, but which the owner considered to be by Antonius and +Hieronymus Amati. The same authority says there are only two in England +of this make. It possesses a splendid fine full and rich tone, +beautiful wood for the belly, but the back rather plain, varnish deep +yellow with reddish tinge. Workmanship not very fine. We mention those +little known artistes' instruments when we have seen them, because they +are now rising in value and are esteemed as likely to afford good +instruments to those who cannot afford those of the three great +masters. +</p> + +<p class="hang"> +STRADIUARIUS, ANTONIUS, Cremona, born 1644, died 1737. +</p> + +<p class="indent"> +See separate chapter for a fuller account of this celebrated artiste. +</p> + +<p class="hang"> +STRADIUARIUS, HOMOBONO, Cremona, son of Antonius; made instruments +under the direction of his father, which were signed "<i>Sub disciplina +A. Stradiuarius.</i>" +</p> + +<p class="hang"> +STRADIUARIUS, FRANCISCO, Cremona, another son of Antonius, and signed +in the same manner as his brother. +</p> + +<p class="hang"> +STRAUBE, —— Berlin, 1770. Constructed after the Italian model. His +instruments are scarce and good. +</p> + +<p class="hang"> +STRNAD, GASPAR, Prague, 1781 to 1793. This maker bears a good +reputation. +</p> + +<p class="hang"> +STURIONUS, LAURENTIUS. See Storioni. +</p> + +<p class="hang"> +SURSANO, SPIRITUS, Coni, 1764. +</p> + + +<p class="head"> +T. +</p> + +<p class="hang"> +TAYLOR, —— London, 1770 to 1820. +</p> + +<p class="hang"> +TECHLER, DAVID, first established himself at Salzburg, and afterwards +went to Venice, where the story goes that he was so persecuted by other +makers that he fled to Rome, about 1706. He made some excellent and +beautiful instruments. They have fine yellow varnish and resemble those +of the Tyrolean school of Albani and others. Lindley had a violoncello +by this maker which was very fine, and powerful in tone. Another was +sold a few years ago by auction, for £50. We have seen a violin of this +maker, with very beautiful wood and highly finished workmanship, the +tone of which was very pure and polished. +</p> + +<p class="hang"> +TENZEL, —— One of our catalogues contains a violin by this maker, but +we have no particulars. +</p> + +<p class="hang"> +TEODITI, JEROME, Rome, 1750. +</p> + +<p class="hang"> +TESTATOR, IL VECCHIO, Milan, about 1520. A claim has been made for +this maker that he was the first to give the name of violino to the +reduced viol. +</p> + +<p class="hang"> +TERRESIO, —— An Italian who died in 1853, was a most eminent judge of +instruments. His whole existence seemed to be centered in his art, and +his eye became so practised that when travelling to discover old +instruments, he took them all to pieces, sides, backs, heads, and all +parts, forming a conglomerate mass of pieces of valuable violins. The +object of so doing was to avoid the customs' dues which are of course +heavy on old instruments. When he reached his destination, he would +replace them without the aid of a single mark. After his death his +house, or rather his hermitage, was visited by connoisseurs, who found +it strewed with different parts of instruments, some being found in the +most out of the way places. He had the major part of all the great +instruments through his hands. Among other valuable instruments found +in his house after his death, was a Gaspar di Salo double bass and a +Bergonzi double bass—the latter unique. Both these instruments are now +in Mr. Hart's possession. The Gaspar di Salo is very perfect and its +tone is unsurpassed. The Bergonzi is quite a curiosity, from its being +the only one of his make known. He visited this country during the +Exhibition of 1851, and was deeply gratified upon seeing so many high +class instruments among the dilettanti here, and the taste and zest the +English have in forming collections. +</p> + +<p class="hang"> +TESTORE, CARLO GUISEPPE, Cremona, about 1700. This artiste made some +very good instruments after the Guarnerius pattern. The wood of the +backs of his violoncellos is mostly pear tree, and the bellies are of +splendid wood. The tone is very powerful, but not always so smooth as +might be wished. This is another rising name. The celebrated double +bass player Bottesini, uses one of this maker's instruments which +possesses a splendid tone, and is sufficient to stamp Testore as an +excellent maker. If any of his smaller instruments possess as good and +fine a tone as this double bass he must be ranked among the best +Italian artistes. Use will probably wear away the want of smoothness at +present complained of in some of them. +</p> + +<p class="hang"> +TESTORE, CARLO ANTONIO, Milan, about 1710 to 1730. +</p> + +<p class="hang"> +TESTORE, PAOLO ANTONIO, Milan, about 1720 to 1740. Both the above have +the reputation of being good makers. Of these artistes we have a note +which states that their model was flat, resembling Joseph Guarnerius in +shape, but the varnish very inferior and void of colour. +</p> + +<p class="hang"> +THOROWGOOD. HENRY, London, the 18th Century. +</p> + +<p class="hang"> +TOBIN, —— London, 1800 to 1836. This maker cut most beautiful heads, +and his work was neatness in the extreme, so much so indeed as to rob +it of decided character. +</p> + +<p class="hang"> +TONINI, FELICE, Bologna. +</p> + +<p class="hang"> +TONINI, ANTONIO, Bologna. +</p> + +<p class="hang"> +TONINI, CARLO, Bologna. +</p> + +<p class="hang"> +TONINI, GUIDO, Bologna. +</p> + +<p class="indent"> +We have no special information on these makers, +but they are generally ranked among the good Italian makers. +</p> + +<p class="hang"> +TONONI, CARLO, Venezia, 1699 +</p> + +<p class="hang"> +TONONI, GIOVANNI, Venezia, 1699. The instruments by Tononi are worthy +of the highest praise. They are however very scarce. They are of the +large pattern, and flat model, with good varnish, and everything about +them, including a superior tone, to entitle them to be ranked as +excellent instruments. +</p> + +<p class="hang"> +TORING, —— London. +</p> + +<p class="hang"> +TRUNCO, —— Cremona, 1660. +</p> + + +<p class="head"> +U. +</p> + +<p class="hang"> +URQUART, THOMAS, London, 1650. An excellent old English maker. He used +beautiful varnish (for English) and made many small violins which are +useful to young players, being old and the price reasonable. +</p> + + +<p class="head"> +V. +</p> + +<p class="hang"> +VALLER, —— Marseilles, 1683. +</p> + +<p class="hang"> +VERON, —— Paris, about 1725. Highly esteemed in France. +</p> + +<p class="hang"> +VIARD, NICHOLAS, Versailles, about 1730. +</p> + +<p class="hang"> +VIBRECHT, GYSBERT, Amsterdam, 1707. +</p> + +<p class="hang"> +VIMERCATI, PAULO, Venezia, 1700. +</p> + +<p class="hang"> +VOGEL, WOLFGANG, Nuremberg. +</p> + +<p class="hang"> +VUILLAUME, JEAN, 1700 to 1740. Worked with Straduarius, and made some +good instruments under his own name. +</p> + +<p class="hang"> +VUILLAUME, JEAN BAPTISTE, Paris. Now living. Famous for his copies of +Cremonese instruments. This artiste obtained by personal researches in +Cremona the particulars of the life of Stradiuarius, which Fetis has +embodied in his book. +</p> + + +<p class="head"> +W. +</p> + +<p class="hang"> +WAGNER, JOSEPH, Constance, 1733. +</p> + +<p class="hang"> +WAMSLEY, PETER, London, 1727. A celebrated artiste, who made many +excellent instruments. Those with the dark brown varnish are the most +valuable. They were mostly of the Steiner patterns. Mr. J. Rodgers, +organist of Doncaster Parish Church, has a very beautiful tenor by this +maker, which is built in the shape of a double bass, and with very +peculiar sound holes instead of the usual S S. +</p> + +<p class="hang"> +WEAVER, SAMUEL, London. +</p> + +<p class="hang"> +WEISS, JACOB, Salzburg, 1761. +</p> + +<p class="hang"> +WENGER, GREGORIO FERDINAND, Salzburg, 1761. +</p> + +<p class="hang"> +WEYMANN, CORNELIUS, Amsterdam, 1682. +</p> + +<p class="hang"> +WIGHTMAN, GEORGE, 1761. +</p> + +<p class="hang"> +WITHALM, LEOPOLD, Nuremberg, 1765 to 1788. Otto says this maker's +instruments are worthy the attention of the virtuoso, and are extremely +like those of Steiner, and difficult to distinguish from them. +</p> + +<p class="hang"> +WISE, CHRISTOPHER, London, 1656. +</p> + +<p class="hang"> +WORNUM, —— London, 1794. +</p> + +<p class="hang"> +WRIGHT, DANIEL, London, 1745. +</p> + + +<p class="head"> +Y. +</p> + +<p class="hang"> +YOUNGE, JOHN, London, 1724. +</p> + + +<p class="head"> +Z. +</p> + +<p class="hang"> +ZANETTO, PEREGRINO, Brescia, about 1540. A maker of rebecs, violas, and +viols da gamba. +</p> + +<p class="hang"> +ZANTI, ALESSANDRO, Mantua, about 1770. Reckoned among the good Italian +makers. +</p> + + + +<a name="bow"> </a> +<p class="chapter"> +BOW MAKERS. +</p> + + +<p> +It will not be considered out of place in the course of a biographical +account of the principal makers of violins, to give a short notice of +some eminent persons without whose labours, the violin itself would +never have been developed as it has been, to wit, violin bow makers. +Much of the elegant finish and refinement of tone and style which +distinguish the great players of the violin, if not due altogether to +the bow, by which the tone is produced, is at all events greatly aided +by it. A Paganini will have a Tourte bow, and so will every other great +master, if he can get one. There must be something therefore in the +bow, as well as in the violin, more than meets the eye of a casual +observer. We have not here space to enter into the subtle niceties +which distinguish the bows of Tourte of France, of Dodd of England, and +others. Suffice it to say that whoever boasts of an excellent violin +should match it with a superior bow. One is incomplete without the +other. There are many excellent makers, but we must content ourselves +with briefly noticing the most prominent. Suffice it to say in the way +of advice and warning that whether the amateur buy an old or a new bow, +let him see that its flexibility, which is its great merit, is perfect, +and that it is still strong though light and straight. Mr. Bishop in +his edition of Otto says the finest bows are those of Vuillaume! He +does not even mention any others. Tourte and Dodd do not deem to be +worthy his remembrance! There must be nevertheless something in the +bows of these makers which commands great respect, for any performer of +skill will give (if he can get one, that is the difficulty,) ten or +twelve times the amount for a perfect Tourte, which will buy a +Vuillaume! There is no doubt that Vuillaume manufactures good bows—but +to rank them highest is so palpable a misrepresentation that we have +thought it necessary to enter a protest against it. +</p> + +<p class="hang"> +TOURTE, FRANCIS, Paris, born 1747, died 1835. This is conceded, by all +the best judges, to be the greatest maker we have ever known, in fact +the Stradiuarius of the bow. His father and grandfather were +instrumental in improving the bow, but Francis Tourte brought it to the +greatest perfection. His bows are light and flexible, yet straight. +They are highly finished and made of the finest Brazil wood. He himself +sold his bows mounted with gold, at 12 louis, (£11 4s. 6d.) each; with +silver 3½ louis (£3 5s. 6d.) It is said the reason of his charging +so much was that he found so great a difficulty in getting wood fine +enough to satisfy his critical judgment, and that he also made no +scruple to break any which did not reach his standard of perfection; he +was therefore compelled to charge those sums for such as he permitted +to go forth. Whoever wishes to match his cherished Cremona with an +equally fine bow will get a Tourte if he can. +</p> + +<p class="hang"> +LUPOT, of Paris, was another excellent maker. His bows are not quite so +light as those of Tourte, but they are in all other respects highly +esteemed. +</p> + +<p class="hang"> +DODD, EDWARD, born at Sheffield, and died in London, at the age of 105 +years, in 1810, was distinguished as an improver of the bow in England, +about the same time that the Tourtes were founding their great +reputation in France. The great maker of this name, however, and who +has achieved the honourable title of the Tourte of England, is +</p> + +<p class="hang"> +DODD, JOHN, the son of Edward. The best bows of this maker are highly +esteemed, and partake of all the excellencies of those of Tourte. Some +of them, however, are rather short, which is perhaps their only defect. +</p> + +<p> +After these come the bows of Panormo, Pecatte, Tubbs, Vuillaume, and +other English and Foreign artistes, whose best bows are much esteemed. +</p> + +<p> +As between old and new bows, we would observe that in general modern +bows are nearly us useless as new violins. The wood of which most of +them are made is very inferior to that of the older artistes, and there +is always a doubt whether they will stand continued use and remain +straight and flexible. With an old bow, if it is straight, there is no +fear, with ordinary care, of its remaining so. A good bow is as +important as a good violin. +</p> + + + + +<a name="Cremona"> </a> +<p class="chapter"> +THE GREAT CREMONA MAKERS. +</p> + + + + +<a name="Amati"> </a> +<p class="firstchapter"> +THE AMATI FAMILY. +</p> + + +<p> +Cremona! Who has not heard of this now celebrated Italian city? And yet +but for a fiddle maker it is very probable indeed that it would never +have been known beyond the circle of its own local interests and its +relations with neighbouring cities. Now, however, its name is a spell +to conjure with. A Cremona Violin is, to a rich amateur, a loadstone +that is sure to attract the shining metal from the depths of his purse. +Seven hundred pounds have been given for a Guarnerius Violin! Think of +that ye dilettanti who are so proud of your pictures and marbles! Even +the poor fiddler has his Mecca far away, and it is called Cremona. Like +pictures, the Cremona Violins are real works of art, and like them +also, were once to be had for trifling sums. Cuyps and Paul Potters, +Stradiuarii and Guarnerii were once to be had for three or four pounds +each that are now worth as many hundreds. A Cremona instrument has even +been considered a worthy gift to pass between crowned heads, Pope Pius +V. having presented a violoncello by Andreas Amati to Charles IX. of +France. Fleeting however are the honours of time! Cremona has lost its +most famous names from among its citizens, and with them its most +distinguished characteristic. For nearly a hundred years no maker of +great skill has arisen to dispute the glory of the place with the +Amati, Stradiuarius, and Guarnerius, by whom the fame of Cremona will +be carried to the latest generations. +</p> + +<p> +It is now about three centuries since there flourished at Cremona its +first great violin maker. Andreas Amati appears to have been born there +in 1520, and died in 1580. The family was an ancient one, and is +mentioned as early as 1097 in the records of the city. It is a +remarkable fact, and shows in a strong light the difference of manners +and customs in different countries that both Amati and Stradiuarius +seem to have been of ancient and honourable families, and yet +notwithstanding their adopting an avocation which would in England be +thought to tarnish an old family name, they lived and died respected +and honoured by their fellow citizens. There is no account of how or of +whom Andrew Amati acquired the art of violin making; but it is clear +that by some means he had attained to a considerable amount of skill. +Under the head of Gaspar di Salo, we have however hazarded a conjecture +that he had been to Brescia for the first principles of the art, but +that he had adopted little that he found there except the varnish and +the general routine of the workshop. Some of his instruments are +described as beautifully made, and to have amber varnish of excellent +quality of a deep rich yellow tinted with brown or light red colour. +His violins appear to have been chiefly of the small pattern and high +model. The backs are mostly cut the reverse way of the grain to the +present rule, forming what are now termed "slab" backs. They possess a +delicate graceful tone of wonderful sweetness, which has also been more +or less the chief characteristic of the other makers of this family. +With reference to this peculiarity, an eminent writer observes that in +the times in which the Amati lived, the tone was not required to be of +that powerful character which modern players demand, and that such an +immense tone as many later instruments possess would not then have been +tolerated. This is very probable, and may account also for the elevated +model which was adopted both by Andrew and some others of the Amati. +This model conjoined with their beautiful workmanship and generally +small size, combined to produce that elegant delicious sweet tone which +of all other makers, the Amatis especially possess. They also, all of +them, made a greater number of instruments of the smaller size than +what is known as the grand pattern, no doubt because the tone produced +by them was found generally sufficient. They were also made to carry a +much lower bridge and a lighter bass bar than are now used, and the +proportions were arranged accordingly. On this point M. Maugin, author +of a Treatise, entitled Manuel du Luthier, makes some remarks which we +have translated as pertinent and valuable. Speaking on the subject of +repairing old instruments, he says, "There is no violin maker now, who +does not put, whether in the instruments he has to repair, or in those +which he makes, a much stronger bar than those which were employed by +the great makers themselves. They must have felt the necessity of doing +this or they would not all act in this way. Now what is the reason of +this mode of working? I have seen in the hands of rich amateurs, +several instruments which have been preserved with a religious care, +absolutely in the form which Amati and Stradiuarius had given to them. +The bridges of these violins had only an inch and a fraction of height +above the belly, while now-adays bridges have a height of an inch and +(say) three-eighths. Now, the belly being put into vibration by strings +at a great distance from it, and these strings vibrating by themselves +more at the distance of fourteen lines than at twelve, it has been +found necessary to strengthen the bar which, without that, being drawn +into too great a vibration, would give to the strings sol and re a +cottony sound which would have quite spoiled the goodness of the +instrument." M. Maugin does not say why higher bridges are now used, +but there is no doubt on this point. All judges concur that the pitch +having been so greatly raised since the old instruments were built, a +stronger bar has been found necessary, to counterbalance the increased +tension of the higher bridge. +</p> + +<p> +Andrew Amati gave to his instruments a still more decided swell than +the later members of his family, his successors no doubt finding a +diminution in the rise of the model to produce a fuller if not a +sweeter tone. This principle was gradually carried forward till it +culminated in Antonius Stradiuarius, who brought it to perfection and +demonstrated that the flat model produced the greatest vibration and +consequently the most powerful tone. Otto in his celebrated work on the +Construction of the Violin, does not mention Andrew Amati, but says +that those of Hieronymus were the oldest Cremona Violins. This is one +of the mistakes in his original work which renders it comparatively +useless. Connoisseurs and collectors have dissipated those errors, and +we now know to a certainty that to Andrew Amati of Cremona, and Gaspar +di Salo of Brescia, (of whom also Otto was ignorant,) we owe the +establishment of these two great schools of violin making. From their +great age, the instruments of these two great makers are now very rare. +They are most of them about three centuries old, and though they appear +to have made a considerable number, they have through the influences of +time and accident gradually disappeared. Some of Andrew Amati's +instruments are still left however in the hands of dilettanti and +collectors, and retain that distinguishing characteristic of delicious +and sympathetic quality which has been the chief charm of all the Amati +productions. Andrew had a brother called <span class="sc">Nicholas</span>, of whom +little appears to be known. +</p> + +<p> +After <span class="sc">Andrew</span>, as great makers, come his two sons +<span class="sc">Antonius</span> and <span class="sc">Hieronymus</span>, who flourished from 1550 to +1634. <span class="sc">Antonius</span> made many small pattern violins, which possess +in the highest degree the distinguishing characteristic of the +family—a sweet but not powerful tone. He also constructed some of a +larger pattern. <span class="sc">Antonius</span> and <span class="sc">Hieronymus</span> conjointly +built a number of large pattern violins, which are of high finish and +beautiful wood. They are very highly esteemed, and a well preserved +example will command a large price. <span class="sc">Nicholas</span> was the greatest +artiste of this deservedly celebrated family, and many instruments +still exist to attest the excellence of his workmanship and his +knowledge of the proportions requisite to produce a fine tone. He also +built many small pattern instruments, but he appears to have almost +anticipated Stradiuarius and succeeded in producing some instruments of +the grand pattern which possess a very powerful as well as sweet tone, +and are considered to rival in every respect the famous instruments of +that great master. Some of his violins possess a distinguishing mark in +a rather abrupt rise in the centre. Otto describes it as a "sharp +ridge." It is not exactly so, but is still very different to the +gradual swell on the other Cremona instruments. His best violins, which +are known by the title of Grand Amatis, are those which approximate +closely to the very best instruments of Stradiuarius and Guarnerius. +There can be no doubt therefore, that in these fine specimens of his +skill, he had hit upon the same principles which afterwards guided +those distinguished artistes in the construction of those most renowned +violins which now command the admiration of violinists throughout the +world. +</p> + +<p> +We have said that the chief characteristic of the Amati violins is a +sweet but not powerful tone. It is necessary to qualify and explain +this remark. From their excellent construction and beautiful wood, +which has evidently been selected with the greatest care for its +resonant quality—their age and long and careful use, their tone is +divested of all extraneous properties, and become fine and pure. +Notwithstanding therefore their original small tone, when fitted with +the modern appliances of larger bars and higher bridges, some have been +found quite competent for all purposes. In 1861 the celebrated +instrument by Antonius Amati, which was presented by George IV. to +Francois Cramer, was sold by auction, and it was stated in the +catalogue that that great performer always led the Ancient and other +concerts on that instrument. The fact no doubt is that it is the fine +and pure quality of tone that tells, arising from age, constant use, +and beautiful woods. They seem to be now divested of all extraneous +characteristics and are become refined and ethereal, and are in fact +the nightingales of the stringed tribe. That the Stradiuarius and +Guarnerius have equal quality combined with more power arising from +their flatter model is undoubted, and therefore they are the most +valued. It is believed that the finest specimen of the skill of +Nicholas Amati is in the possession of Ole Bull. It is of the large +pattern, and possesses a magnificent tone, as many of our readers have +no doubt heard. +</p> + +<p> +We think we shall please our readers by inserting verbatim the +following excellent description of the Amati instruments, furnished to +us by an able and experienced connoisseur. He says:— +</p> + +<p> +"<span class="sc">Nicholas Amati</span> and the <span class="sc">Brothers Amati</span>. The tone is +with few exceptions sweet in quality and seldom powerful, but admirably +suited to the amateur. The workmanship is of the highest order, which +conduces to this result. The wood must have been selected with great +judgment. The bellies are nearly always of a fine reedy nature. +Sometimes the backs are whole backs (in one piece), at others in two, +more often the latter. The varnish of a beautiful amber colour, and +there are a few instances of fine red. The sides generally rather +shallow, heads of exquisite form and well defined. The care bestowed +upon them alone bespeaks the hand of the artist. There are several +magnificent tenors and violoncellos, and perhaps three or four double +basses. The tenors are sometimes seen of large size. The Amati family +made several sets of instruments for foreign courts, which bear their +particular arms, mostly beautifully painted on the backs. The violins +known as Grand Amatis are the best, and were made by Nicholas Amati. +They take their name from their size. He also made many long pattern +instruments, and also several three quarter violins, which have +conferred a great boon upon juvenile violinists who are able to +purchase them, by giving them an opportunity of early becoming familiar +with the irreproachable Italian quality of tone." +</p> + +<p> +In reference to the remark made in the preceding paragraph, it is +recorded that a set of instruments, no doubt one of those therein +alluded to, was made for Charles 9th of France by Andrew Amati, +consisting of twenty-four violins, six violas, and eight basses. These +were lost from Versailles in 1790, and have not been recovered, except +two which M. Cartier discovered some years since. Notwithstanding that +Andrew Amati was the first maker of any note, except Gaspar di Salo of +Brescia, it is clear that he had attained an astonishing amount of +skill, as there is an account of a violoncello which was offered by +auction at the sale of the celebrated Sir Wm. Curtis's instruments by +Mr. Musgrave, who in the catalogue stated that "a document was given to +the proprietor when he purchased this instrument, stating that it was +presented by Pope Pius 5th to Charles 9th of France for his chapel. It +has been richly painted, the arms of France being on the back, and the +motto 'Pietate et Justitia' on the sides. The tone of this violoncello +is of extraordinary power and richness." Mr. Forster supposes this to +have been one of the instruments mentioned before, but that would +destroy the value of the document given to Sir William, because if +Andrew Amati made it for Pope Pius 5th, who presented it to Charles 9th +it could not have been one of those made by him expressly for that +monarch. It is clear however that the tone was both grand and fine, and +therefore the first of the Amatis must have attained great ability in +his art. We have before mentioned the celebrated Nicholas Amati violin, +dated 1679, formerly the property of the same distinguished collector, +Sir W. Curtis, and which has since been sold by Mr. Hart to the great +violinist Ole Bull. This is considered the finest specimen of the Amati +skill and was thus described in the catalogue of the sale—"This is +justly considered as one of the most beautiful and finest instruments +in the <span class="sc">whole world</span>." The Count de Castelbarco of Milan, +possessed a quartett of instruments by Nicholas Amati, which have since +been sold in London (see the article on Stradiuarius.) M. Fetis +describes these as <i>admirable</i>, but as our readers will see, the +English connoisseurs do not appear to have coincided generally with the +critic on their quality, as only one of them produced any great price. +There is a splendid grand Amati in the hands of an amateur in +Derbyshire, which formerly belonged to Mr. Hankey the banker, for whom +it was purchased with others by Viotti, who dedicated several of his +compositions to him. This instrument possesses in an eminent degree the +admirable qualities of the Amati tone, with also considerable power. +Another of the same set in the same hands is a splendid Stradiuarius of +the large pattern with a magnificent tone. There are many fine examples +of the different makers of this celebrated name in this country. +English connoisseurs suffer those of no other nation to excel them in +their collections. +</p> + + + +<a name="stradiuarius"> </a> +<p class="firstchapter"> +ANTONIUS STRADIUARIUS. +</p> + + +<p> +A most interesting account of Antonius Stradiuarius, who is generally +thought to be the greatest maker of the violin—has been published by +M. Fetis, and translated into English by Mr. Bishop of Cheltenham. In +addition to records of his family, which was an ancient one in Cremona, +obtained by M. Vuillaume in his persevering labours in search of +information, and which he placed at the service of M. Fetis—the latter +enters deeply into what we may call the science of violin making, and +presents us with many interesting and valuable experiments which have +been made on fragments of the great instruments, in order to ascertain +the exact principles which enabled Stradiuarius to build with such +undeviating and brilliant success. The book is well worthy the perusal +of all amateurs of the violin. +</p> + +<p> +<span class="sc">Antonius Stradiuarius</span> was born in Cremona, in 1644, and died +there in 1737, having lived in the peaceful exercise of his art to the +great age of ninety-three. There is a violin still extant which bears +his signature and proves this fact. In the early part of his life, he +was a pupil of Nicholas Amati, and some of his early productions bear +his master's name, as seems to have been the custom. These instruments +have the Amati characteristics, and have some of the backs cut the +contrary way of the grain, forming what are known by the name of "slab" +backs. He afterwards enlarged his model and adopted a flatter pattern, +and arrived at the greatest perfection about 1700. From that period to +1725, everything he made bore the impress of the great master. In +shape, the cutting of the S holes, the varnish, and the accuracy with +which all the parts were adjusted in harmonical relation, from that +time he excelled all who had gone before him, or who have since +attempted the difficult task of vying with him. All these instruments +are of the flat pattern, which is now proved to be best adapted for the +production of a rich, deep and powerful tone. It would appear that the +more elevated model used before his time, although it allowed of very +fine quality of tone, tended to prevent that strong vibration which is +the cause of great tone. M. Fetis insists that the violins of +Stradiuarius were as good and fine in quality of tone when made as they +are now, contrary to the established opinion that time is necessary as +well as use for refining and perfecting all violins. He gives an +instance of a violin made by Stradiuarius, now in Paris, which he +states has never been played upon—but we must beg to doubt this fact. +Though we are ready to admit that the careful adjustment of the +different parts and the selection of fine wood, would tend to perfect +the tone of these instruments, much sooner than others less carefully +fashioned, yet in the instance he brings forward in support of his +theory, it does not appear quite so clear that the violin never had +been played upon. On the contrary, there are many years unaccounted +for, in his description of it, during which it might have undergone +considerable use. It appears almost impossible that while in the hands +of various possessors, so fine an instrument should have been suffered +to lie idle in a cabinet, as though it were a picture to be looked at, +but not touched. From its condition, however, it is clear that it had +always been in hands that prized it, for he describes it as having +quite the appearance of a new instrument. In this respect, therefore, +we must still adopt the opinion of the most eminent judges, including +that recorded by Spohr, that it requires both time and use to perfect +all instruments of the violin class. It would appear moreover that this +has always been a settled belief, for even Mace in his "Music's +Monument," published in 1676, says "We chiefly value old instruments +before new for by experience they are found to be far the best." As to +the condition of this instrument which Fetis states to be quite unique +for its perfection and apparent newness, our countryman, Mr. Gardiner, +in his interesting work, "Music and Friends," says that Mr. Champion, +an amateur had given 300 guineas for a Stradiuarius violin and tenor, +of a beautiful yellow colour inclining to orange, and which appeared to +have been untouched since the day they were made. Here then in this +country is a double instance of the same fact as to condition, for +which M. Fetis claims for the Paris instrument the title of unique. The +fact is that these fine violins have for many years been so highly +appreciated that their possessors have taken the most extraordinary +care to prevent their being damaged or disfigured, and there are many +instances of violins in equally perfect condition. +</p> + +<p> +After 1725, at which date Stradiuarius was 80 years old, his work lost +some of its characteristic excellence though still of great merit. His +sons, Homobono and Francesco, now assisted him, but he appears still to +have signed them, occasionally adding to their names however, the words +<i>sub disciplina A. Stradiuarius</i>. He had many pupils, the chief +and the best of whom was Carlo Bergonzi. There were also Gobetti of +Venice, Guadagnini of Cremona, Michael Angelo Bergonzi, and others +mentioned in the dictionary. Fine examples of the works of his pupils +are now becoming very valuable, and are well worthy attention. +</p> + +<p> +Stradiuarius made a few instruments inlaid with ebony and ivory round +the edges. There is a quartett of them, all bearing the same date 1687. +One is in the collection of Charles Plowden, Esq.; the other violin +belongs to a gentleman in Staffordshire; the violoncello belongs to the +Queen of Spain, and the tenor was once the property of Sir Wm. Curtis. +This is a very curious and remarkable set of instruments, very highly +finished and in fine preservation. There is also another violin inlaid +which belonged to the late Dr. Camidge of York, bearing date 1713. A. +Fountain, Esq., has in his possession, the last violin which +Stradiuarius made. This instrument is known as the Habenock Violin from +the previous owner's name from whom Mr. Fountain had it. Charles +Plowden, Esq., has a quartett of splendid instruments by Stradiuarius, +of which one violin is of the Grand Pattern, dated 1719; another dated +1711; which are perfect in model and preservation, and both +first-class; the third is a remarkable violin, with rich golden +varnish, dated 1709—a perfect instrument, which has been twice sold +for £600, was formerly the property of Emiliani and is still known by +his name. The fourth violin is the inlaid instrument mentioned above. +Besides these, Mr. Plowden possesses a magnificent violoncello by +Stradiuarius—a remarkable specimen both for beauty and tone; and also, +four violins by Joseph Guarnerius which will be mentioned under the +head of that master. +</p> + +<p> +There is in Derbyshire a very fine Stradiuarius which was purchased by +Viotti for his friend Mr. Hankey, from whom this and the Amati +mentioned elsewhere went to his brother, a distinguished amateur, who +died some years ago. Wm. Howard, Esq., of Sheffield, has a fine +Stradiuarius violin, of the most beautiful yellow varnish, splendid +wood, fine tone, and perfect condition, which formerly belonged to +Salomon. +</p> + +<a name="113"> </a> +<p> +We may also mention here that the late eminent violinist Ernst, played +upon a very fine Stradiuarius Violin which was presented to him by A. +Fountain, Esq., an ardent admirer of that famous player. Joachim also +uses a Stradiuarius. Servais, the great French performer, uses a +Stradiuarius Violoncello, which is said to be the handsomest known, and +which cost him 500 guineas. +</p> + +<p> +The value of the best productions of the genius of Stradiuarius is now +very great. Mr. Betts, of London, had one for which he refused the +enormous sum of £500, and Dragonetti also refused £800 for a double +bass. The highest price, £600 however was given twice for the violin +now belonging to Mr. Plowden. But even such prices have been exceeded +by that of the celebrated King Joseph Guarnerius mentioned elsewhere, +which realised £700. It must not be understood however that such prices +are the rule, for it is only for extraordinary specimens that any such +great sum can be obtained. Excellent instruments are frequently sold +for much smaller amounts, and it must also be remembered that none but +those made from about 1700 to 1725 realise such enormous sums. His +earlier productions, which resemble those of his master, and which are +known by the name of Stradiuarius Amatis, can be had occasionally for +moderate prices. An undoubted violin of any period of this great +master's make, is well worthy the attention of the virtuoso. They are +all good, but the grand pattern of this wonderful genius, possessing +equal sweetness with greatly increased power, are only now to be had by +connoisseurs of unlimited means. +</p> + +<p> +As an illustration of the more moderate prices which these fine +productions command, we think it may interest our readers to give here +the result of a public sale of Cremona instruments belonging to the +Count de Castelbarco of Milan, a distinguished amateur. M. Fetis in his +work states that the Count possessed "two quartetts of Stradiuarius, +very remarkable instruments; another of Joseph Guarnerius; a fourth of +Nicholas Amati, and lastly a quartett of Steiner," of which he +specially particularises the Tenor as "being a model of perfection as +to workmanship, and the tone of which is of extreme beauty." These +instruments were sold by auction by Messrs. Puttick and Simpson, on the +26th June, 1862. We quote the report of the "Times," by which it will +be seen that our English connoisseurs did not appreciate them so highly +as M. Fetis. The "Times" did not mention the Guarnerii and the Steiner +at all, we presume because the prices were nothing remarkable. +</p> + +<table summary="Prices" cellpadding="4"> +<tr> +<td class="center">LOT.</td> +<td> </td> +<td> </td> +<td> </td> +<td class="right"> </td> +</tr> + +<tr> +<td class="right">1</td> +<td>Violin by Stradiuarius,</td> +<td>1712</td> +<td>£</td> +<td class="right">70</td> +</tr> + +<tr> +<td class="right">2</td> +<td>Violin by Stradiuarius,</td> +<td>1699</td> +<td>£</td> +<td class="right">56</td> +</tr> + +<tr> +<td class="right">5</td> +<td>Tenor Violin by Stradiuarius,</td> +<td>1715</td> +<td>£</td> +<td class="right">100</td> +</tr> + +<tr> +<td class="right">6</td> +<td>Violin by Stradiuarius,</td> +<td>1701</td> +<td>£</td> +<td class="right">135</td> +</tr> + +<tr> +<td class="right">8</td> +<td>Violin by Stradiuarius,</td> +<td>1685</td> +<td>£</td> +<td class="right">135</td> +</tr> + +<tr> +<td class="right">9</td> +<td>Violin by Stradiuarius,</td> +<td>1713</td> +<td>£</td> +<td class="right">90</td> +</tr> + +<tr> +<td class="right">12</td> +<td>Violin by Nicholas Amati</td> +<td> </td> +<td class="right" colspan="2">39 gs.</td> +</tr> + +<tr> +<td class="right">13</td> +<td>Violin by Andrew Amati</td> +<td> </td> +<td class="right" colspan="2">36 gs.</td> +</tr> + +<tr> +<td class="right">26</td> +<td>Violoncello, Stradiuarius</td> +<td>1697</td> +<td>£</td> +<td class="right">210</td> +</tr> + +<tr> +<td class="right">28</td> +<td>Violoncello, Stradiuarius</td> +<td>1687</td> +<td>£</td> +<td class="right">115</td> +</tr> + +<tr> +<td class="right">30</td> +<td>Violoncello, Nicholas Amati</td> +<td>1687</td> +<td>£</td> +<td class="right">130</td> +</tr> + +<tr> +<td class="right">31</td> +<td>Original Letter by Stradiuarius</td> +<td> </td> +<td>£</td> +<td class="right">8</td> +</tr> +</table> + +<p> +At the same sale a Grand Amati Violin, jewelled at the corners, £60; +Violin by Guarnerius, 38 guineas. +</p> + +<p> +In addition to the above we may mention that the Stradiuarius Violin, +which once belonged to a member of the Medici Family, was sold by +auction a short time ago, at the Hotel de Drouet in Paris, for 5,745f., +about £230, an excellent price for a Parisian connoisseur. We have +already mentioned many fine instruments by Stradiuarius which are in +the hands of connoisseurs and performers. We will now mention a fact +which in the estimation of all true lovers of these fine violins is to +be greatly regretted. It is not the only instance, as probably our +readers are aware that the celebrated Guarnerius Violin of Paganini, is +now locked up in a museum at Genoa. There is at a museum in the city of +Florence, a quartett of beautiful instruments by Stradiuarius, +consisting of two violins, tenor, and violoncello, which were presented +to the institution by an Italian Nobleman, whose ancestors purchased +them from the master himself. These instruments are most beautiful and +in the highest preservation. But of all other curiosities, Cremona +Violins are the most unsuitable for a museum, because they lie there +dead, and are no more than names. The soul of music which is embodied +in them is imprisoned within wood and crystal, and is no more heard of +men. Let no one leave his Cremona to a museum. +</p> + +<p> +Before closing our account of this great master, it may not be +uninteresting to state in his life time, he appears to have charged +about £4 for a violin, and that he made so many during the course of +his long and industrious career, that his fellow citizens spoke of him +as rich. "As rich as Stradiuarius," was a common remark, as we see by +M. Fetis' notice. Another anecdote is, that Cervetto, an Italian +merchant in London, had a consignment of violins from the master +himself, and as he could not get four pounds each for them he returned +them. This appears strongly to disprove the assertion that his +instruments were as good when made as they are now, especially when we +find that in 1662, £40 was given for two Cremona violins for King +Charles' band, no doubt the elder Amati's, which at that date would be +getting mellowed by time. It is clear that King Charles, or the leader +of his band, knew the value of Cremona instruments, for reckoning the +difference in the value of money at the two periods, £20 then would +purchase £120 worth of goods now. It is therefore extraordinary that if +they were as good new as when they are old, the paltry sum of four +pounds could not be got for them. The real truth no doubt is that +whoever the maker, time must be the refiner, and even genius like that +of Stradiuarius and Guarnerius could not impart that grand, rich, and +mellow tone which distinguishes them without the aid of old Father +Time. +</p> + + +<a name="varnish"> </a> +<p class="firstchapter"> +<span class="sc">The Cremona Varnish.</span> +</p> + +<p> +Those who desire to make themselves acquainted with the chief +characteristics of the great Cremona makers should take every +opportunity of examining genuine instruments. In addition to the other +external indications we have pointed out, one of the most important, +which is also the most difficult, if not impossible to imitate, is the +varnish, including the colour. None of them seem to have adhered to one +colour only. The present master for instance covered some of his finest +violins with a deep rich yellow, almost approaching to orange. Others +again will be found of a fine red, having something of a most lovely +light cherry tint. Now these colours were mixed by the best makers with +amber varnish of the purest and clearest consistency, and both colours +and varnish are perfectly free from that muddy sort of appearance which +so often disfigures modern instruments. The effect is that of perfect +transparency. You look at a clear perfect rich colour, as it were, +through the purest crystal. This is one of the most certain indications +of a genuine instrument. The moderns unfortunately seem to have lost +the secret of making this lovely transparent clear coloured varnish, +and the consequence is that a connoisseur of ability and experience +never doubts when he sees an instrument whether it be the work of a +great master. It is however supposed that all the genuine productions +of the chief Cremona makers are now known, and we would not therefore +have our readers flatter themselves they can pick up any of them in a +casual way. Vigilant eyes and sharp judgments have long swept over +Europe in search of them. But the advantage is this—that a knowledge +of the best enables the amateur to discern a near approach to it, and +thus distinguish those makers who are not so well known, though, being +the pupils and followers of the great masters, they are well worthy of +his choice. Large diamonds are rare and very dear. A smaller gem must +suffice the amateur of moderate means. +</p> + + + + +<a name="guarnerius"> </a> +<p class="firstchapter"> +THE GUARNERIUS FAMILY. +</p> + + +<p> +This is another glorious name in the annals of Cremona. Many of the +first connoisseurs, now hesitate whether to apply the epithet greatest +to Guarnerius or to Stradiuarius. The palm is therefore divided between +them. Certain it is however that inasmuch as money rules the world, if +we resort to that test, Guarnerius is the brightest gem, for it is +recorded that he has sold for £700 and Stradiuarius for only £600. Most +of the rich connoisseurs therefore desire to possess both. The great +players, to whom money is more an object, divide their affections +between them, and are satisfied with either one or the other, as chance +or opportunity may decide. +</p> + +<p> +The first of this celebrated family was Andreas, who was born in 1630 +and died about 1695. He appears to have been a pupil of Nicholas Amati, +and shows much of his teacher's careful finish. His instruments are +generally beautifully made, of good and handsome wood, with excellent +varnish, principally of amber colour like that of the Amatis. He also +occasionally, but much more seldom, used red coloured varnish. This +artiste is not famous for producing a great tone in his instruments, +and he is therefore not elevated to the first class, but he made very +good violins which are well worthy the attention of the amateur. We +have seen a very fine specimen in the hands of A. Bright, Esq., of +Sheffield, which was purchased of Mr. Hart, and which is decidedly the +best instrument we have seen of this master. It is remarkably handsome, +of a beautiful yellow colour, the back of one piece with rather small +figure, the ribs similar, the head most carefully and accurately formed +and the belly of fine wood. The tone is also more powerful than +Andrew's violins generally are, and it is altogether a very fine +example of his work. +</p> + +<p> +<span class="sc">Guiseppe Guarnerius</span> is considered to be the son of Andrew, and +his instruments are generally signed as filius Andræ, very probably to +distinguish him from his more celebrated cousin and namesake, who is +besides generally known by the name of Joseph del Gesu. Guiseppe's +instruments are very similar to his cousin's in quality—but less +powerful and probably not so round in tone. They have however, a firm +well defined kind of sound, which is always pleasing both to the player +and the hearer, the former never feeling that the tone will give way +under his bow. There are a great number with "slab" backs. The varnish +is of first quality, and his violins are yearly becoming more valuable +and of greater importance. We have seen a violoncello by this master, +which is very fine. The back, ribs and head of very beautiful small +figured wood. The belly of very fine grained wood, the bate looking +like fine threads of silk stretched at regular intervals the whole +width and length of the instrument, and with an exceedingly rich red +varnish. It possesses also a fine quality of tone, and is dated 1713. +</p> + +<p> +<span class="sc">Pietro</span>, another son of Andreas, dates from 1690 to 1720. In +the latter part of his life, he appears to have removed from Cremona to +Mantua, his labels bearing date from thence. He was a pupil of his +father, but is said not to have equalled him in careful finish. His +instruments, however, command considerable respect and fetch a good +price, a violoncello of his being recorded to have sold a few years ago +for £120. +</p> + +<p> +<span class="sc">Joseph</span>, nephew of Andreas, born in 1683, and died in 1745, is +the last and best of the race of violin makers of this name. He was +distinguished by the title of Joseph del Gesu, through his using on his +labels, the monogram I.H.S., with a cross over or through the H. His +career appears to have been of a very chequered complexion. From all +the accounts that have come down to us, he seems to have been a man of +irregular habits and eccentric genius. In consequence of these +peculiarities, his instruments differ greatly in their characteristics. +Neither the model, the wood, nor the varnish possesses much +verisimilitude at different periods of his career. They are all, +however, marked by the stamp of genius, and give but little trouble to +a well informed connoisseur. Even under the most distressing +circumstances, when on some account, he was confined in prison, and was +obliged to be indebted to his gaoler's daughter for the materials with +which he worked, they still bear the characteristics and originality of +a great master. The finish, however, of those which he made at this +period was inferior to the others, being rather coarse and slovenly, +and the work altogether little indicating externally the signs of that +real excellence which they possess. At his best period, however, his +instruments are of rare beauty and merit, and equal or perhaps excel +those of Stradiuarius. The wood he then used was of fine quality, and +the varnish rich and lustrous and very often of similar lovely tints as +those of that master. Many of his instruments are of rather small +pattern, but in his best period, he produced some of large size and of +extraordinary power and grandeur of tone. Among them was the famous +favourite violin of Paganini, the renown of which, says M. Vuillaume, +"was equal to that of its master." This was the instrument on which, +the most celebrated of all violin players the world ever saw, produced +those extraordinary effects which astonished the whole musical world, +and which will never be forgotten by those who heard them, nor perhaps +excelled by any other. These instruments are however unfortunately very +rare, and as rich connoisseurs will have them if possible, the value of +them has come to be very great. We have elsewhere mentioned the +magnificent violin known by the name of the King Joseph Guarnerius, for +which Mr. Hart received the enormous sum of £700, which is the largest +amount ever obtained for a violin on record. This splendid violin is of +large pattern, with beautiful rich orange yellow varnish and splendid +wood. It was imported into this country by Mr. Hart, and has been in +the hands of those enthusiastic and judicious collectors, Mr. James +Goding and Mr. Stewart. Joseph Guarnerius appears to have endeavoured +to produce the grandest tone, combining majesty and refinement. Many +people think he did so without thought or design, but we think +otherwise. In the first place he seems to have fixed on Gaspar di Salo +and Magini as his models, for if a comparison be made we shall find +there are many points which resemble these instruments, for example, +the peculiar shaped sound holes, the manner in which they are placed +and the flat model, all of which tend to produce power, while he +obtained the quality from the wonderful ingenuity he exercised in +leaving the thicknesses of the wood in evidently the correct places, +which was the necessary step in advance. He certainly made many rough +instruments which are ascribed to his imprisonment, and which are now +called the Prison Guarnerii, but the varnish on these even is not +surpassed. He made many of a rich yellow colour, and others of red, the +latter of which are matchless instruments. His heads are not finely +cut, but the character he gave them has never been excelled. +</p> + +<p> +In the first rank of Joseph Guarnerius instruments we must no doubt +place that belonging to Paganini, which would, if it could be obtained, +command an extraordinary price, and there are also many other noble +productions of his skill extant. The King Joseph Guarnerius we have +before mentioned. Mr. Plowden has four very valuable violins by this +master. One was formerly the property of Mr. Goding, and was esteemed +by him the finest in his collection. Another is quite equal, more +highly finished and has his splendid red varnish. The third was +formerly the property of Ole Bull, and is considered of the finest +model of the master in his more unfinished and larger sized +instruments, dated 1714. The fourth, less well known, but perhaps more +perfect, certainly in tone, 1742. These four instruments are considered +by most of the virtuosi, to be probably the finest examples extant of +this great master. Certainly there are few collectors who can boast of +having so many fine violins as these four by Guarnerius, and the four +by Stradiuarius previously described. Mr. Plowden has always gone on +the principle of getting the very best instruments of each master, and +his taste and judgment are well evidenced in his collection. The late +Earl of Falmouth possessed some very valuable instruments such as the +Kiesewetter Guarnerius and the Jarnovick Guarnerius, so named after +their owners, and also a fine Magini Tenor, all of which were purchased +by Mr. Hart. The late lamented Prince Consort had a very fine tenor by +Joseph Guarnerius, which was highly finished and had belonged to +Dragonetti. There are many other fine specimens of Guarnerius in this +country. English collectors, with that splendid contempt for cost which +distinguishes them, allow no fine instruments to leave the country if +they know it, and the consequence is that in the present day, and for +some time back, England ranks first in the number and value of the +Cremona Violins she possesses. Next comes France, who has some able +connoisseurs; then Russia and Germany. Italy, strange to say, has +suffered them all to leave her, and though the native country of +Stradiuarius and Guarnerius, it is doubtful whether other nations have +not attracted all the finest instruments out of her own possession. The +great rise in the value of these extraordinary instruments is no doubt +due to the fact that they were built very strong in wood, the effect of +which would be to depreciate the tone when they were built, but which, +now time has ameliorated them and the wood has become capable of free +vibration, has refined the quality and increased the tone. Fifty years +ago, a Guarnerius of the best time might have been bought for £50 that +will now command £500. Neither does it appear that they have yet +reached their climax, for they are yearly increasing in value as the +examples we have mentioned clearly show. +</p> + + + + +<p class="chapter"> +THE GREAT TYROLESE MAKER. +</p> + +<a name="steiner"> </a> +<p class="firstchapter"> +JACOB STEINER. +</p> + + +<p> +The time has been when the instruments of this master, whose name is +perhaps yet as widely known as the Cremonese, were very highly esteemed +in England. In Germany it is so yet, and many of the amateurs of that +country flatter themselves that Steiner ranks first in the roll of +famous violin makers. Their celebrated violinist, Spohr, however, in +his remarks on the subject inserted in his Violin School does not +coincide with the opinion of his fellow countrymen to this effect, for +he puts Steiner in the second rank, reserving to the first Nicholas +Amati, Antonius Stradiuarius, and Joseph Guarnerius. In this decision +he also generally expresses the opinion of the travelled professional +violinists of his own country as well as all Europe. But it is well +known that in Germany a well preserved instrument of Steiner's best +period will sell for much more money than any where else. In England +more especially we adopt exactly the reverse valuation. Steiner will +not now command a greater price than many of the pupils of the great +masters, and perhaps to some extent this may arise from the immense +number of spurious instruments bearing his name, which the inferior +Tyrolese makers put forth to the world and palmed on a credulous public +as his genuine instruments. Perhaps no master has been more copied and +imitated, both in Germany and elsewhere. In England the violin makers +in the beginning of the eighteenth century, mostly copied the pattern +and model of Steiner. There must, therefore, be some good and powerful +reason for this general depreciation in value and reputation which +Steiner has suffered. This the candid inquirer readily finds in the +fact that the instruments of Steiner, which were generally constructed +on a high and peculiar model were only calculated for the production of +a thin though sparkling tone, while the Italians aimed, particularly in +the flatter instruments, to obtain a full rich and round tone. This +distinction is apparent even in the older Cremona makers, but if we +compare those of Steiner with those of Nicholas Amati, of Stradiuarius, +or Guarnerius, the thin tone of the former and the rich round tone of +the latter become instantly most striking. The consequence is that the +rich amateurs who form collections, and the great performers whose +interest it is to please by the quality of tone as well as the grace +and finish of their execution, no longer purchase the Steiner violins +except as matters of curiosity in the case of a very fine example. We +do not know any great player who uses a Steiner instrument, as we shall +show in another article. We therefore only now class Steiner among the +great masters, from his past reputation, and for certain special +instruments. +</p> + +<p> +<span class="sc">Jacob Steiner</span> was a native of the Tyrol, and was born at +Absom, near Inspruck, about 1620. It is said that an old instrument by +Kerlino, which he found in the house, gave him his first tendencies +towards the art of violin making. Certain it is however that while yet +a youth he obtained employment in the workshop of Nicholas Amati. This +was an excellent school for the young aspirant, and after some years he +made some instruments which, with the exception of sixteen which will +be mentioned later, are considered to be the finest specimens of his +talent. These fine violins are the product of his Cremonese +inspiration, and bear a written label signed by himself and dated from +Cremona about 1644. These instruments are modelled higher than those of +his master, thus showing a singular divergence from the principle of +gradual decrease in the height of the model of the Amatis, from Andrew +to Nicholas. This divergence from that principle, which ended in the +flat model of Stradiuarius, must be considered to be the real cause of +the loss of favour which the Steiner violins, though beautiful in other +respects, have undergone. Steiner exaggerated the old practice instead +of following the new lights of science, and while the latter have +yielded the brightest results, the former has tarnished the real talent +of this otherwise excellent artiste. Probably another reason for the +defective tone of Steiner's instruments in comparison with the +Cremonese and Brescian, is the practice of modelling his violins with +an extraordinary and peculiar rise to about the foot of the bridge, and +then keeping it nearly flat. Otto describes it thus, "the breadth of +this raised part is about the same as the bridge itself, and then it +falls off towards the edges. The model is precisely similar towards the +neck and on the broad part (beneath the finger board.)" This description +is only imperfect in this point that sufficient stress is not laid on +the words <i>fall off</i>. It is literally a falling off, and on the +principles of acoustics must of necessity make the tone thin. Andrew +Amati, on the contrary, built nearly as high, but beautifully and +gradually sloped them down to the purfling, and his instruments, though +small in tone, are yet full, round and sweet. In other respects Steiner +at this period was a most careful maker, and his instruments show very +fine finish and workmanship. They are of the small pattern, with the S +holes rather shorter than the Cremonas, somewhat narrow and beautifully +formed; the head also smaller and particularly round and smooth. The +varnish is similar to that of the Amatis, and the wood of the belly has +a fine open grain. +</p> + +<p> +After the production of these instruments at Cremona, Steiner removed +to his native place and having married the daughter of Antonius Amati +appears to have lost his ambition, and made many very inferior +instruments. His history at this period is somewhat melancholy. Pressed +by the necessities of a family and the want of active patronage, his +genius languished and he became negligent and careless in his work. +This continued for some time till fortune again smiled upon him, when +not being compelled to sell for immediate wants he again resumed his +careful finish and began to be distinguished as a good maker. At about +this period Klotz and Albani became his pupils, and he produced some +excellent instruments, which are often distinguished by the scrolls +being ornamented with lions heads which are beautifully carved. These +and the heads of other animals are supposed to denote the crests of his +patrons at this period. They are dated from about 1650 to 1667 at +Absom. Fetis says the French violinist, Alard, has a violin of this +period of the greatest beauty, and that there is in Paris a genuine +Steiner, which he has heard Sivori play upon, which although of a very +small pattern has an unusually brilliant tone. +</p> + +<p> +Now comes the most brilliant period of this artiste's history in a +musical sense, though somewhat romantic and mysterious otherwise. +</p> + +<p> +Retiring to a monastery, it is said after the death of his wife, he +there passed the remainder of his life, but there does not appear to be +any positive information when he died. While there, however, he +resolved to distinguish the close of his career by the construction of +some violins of super-eminent beauty and quality. This he accomplished +by the aid of the superior, who obtained for him some very fine wood, +out of which those most famous instruments, known by the name of +<i>Elector Steiners</i> were made by him. These are the violins which +by common consent most entitle this artiste to rank with the great +masters. They are of the very highest quality of the Steiner tone, +which Dubourg describes as "a pure ringing ethereal tone, comparable to +that of a woman's perfect voice—a shape of elegance—studied finish in +every detail, and a diaphonous varnish of golden hue." Such are the +characteristics, says this enthusiastic admirer of these productions of +Steiner's third or last epoch. There were sixteen of these violins, one +of which he presented to each of the twelve Electors, and the remaining +four to the Emperor. Unfortunately thirteen of them appear to have been +lost, and the remainder have all been in royal hands, the Empress Maria +Theresa, the Duke of Orleans, grandfather of King Louis Philippe, and +Frederick William of Prussia, and been presented by them (except the +last) to eminent foreign violinists. +</p> + +<p> +We have now presented a concise sketch of the career of this celebrated +artiste, and it is to be regretted that none of his more celebrated +violins are known to be in this country, to enable us to judge more +accurately, whether he succeeded, in any of them, in producing any +close approximation to the rich round tone of the best Cremona makers. +The best of those known to English connoisseurs are characterised by +the thin though brilliant tone we have described, which, when compared +with the Italian masterpieces, has led to their general depreciation in +the estimation of the highest authorities and the most distinguished +performers on the violin. +</p> + + + + +<a name="value"> </a> +<p class="chapter"> +WHY ARE CERTAIN VIOLINS OF MORE VALUE THAN OTHERS? +</p> + + +<p> +In considering this question, several difficulties present themselves +to the inquirer. We are all aware of the infinite diversity of tastes +in the first instance, and in the next, accurate judgment is a matter +which depends on the union of so many qualities that it is rare indeed +to find two opinions completely alike. Nevertheless we do find that +there are a few instruments which by universal consent have become the +standard of taste. They are "the glass of fashion and the mould of +form" in the violin world. An appeal to these famous violins must +therefore be of some service in this inquiry, which is of very +considerable importance, because its object is to decide what is that +tone which confers that immense value which some violins have realised +as distinguished from that which possesses only a merit of so inferior +a character as to become scarcely valuable in any degree. In other +words, what are the distinguishing characteristics of tone of the +violins made by Nicholas Amati, Antonius Stradiuarius, and Joseph +Guarnerius. These three makers are now the Raphaels, the Titians, and +the Claudes of the musical world, and a few thoughts on their works in +connection with this subject may help us to a decision on this +difficult point, at least to the great bulk of amateurs. We will divide +the inquiry into three heads. +</p> + +<ul> +<li>1. Power.</li> +<li>2. Sweetness.</li> +<li>3. Purity.</li> +</ul> + +<p> +In considering the first point, power, the amateur will have to beware +of a very possible mistake he may fall into. There is <i>apparent</i> +power under the ear, arising from coarseness. This is a species of +power which is observable chiefly by the player. The listener, +especially if at a little distance, does not hear this power. The tone +is clogged and thickened with the resinous particles which have +remained in the wood and which perhaps, from its nature may never leave +it altogether, and the vibration is not therefore perfect. Another +cause of false power is a certain imperfect build wherein the parts are +not properly calculated as in the fine Cremona productions. These two +classes of instruments are very apt to deceive unpractised ears. But a +moment's comparison with one of the genuine great masters will show +them in a most unmistakable manner the difference. What then is real +power? It is simply musical tone, divested of all adventitious +qualities. When tone of this class is heard near, the effect is +charming to the ear. When heard afar off, it seems to swell out and +become magnificent and telling. Who that has heard a great player on a +fine instrument, that has not been astonished at the immense quantity +of tone which arises from this exceedingly fine quality. And it is in +this way that even the small Amatis, built when great amount of tone +was not wanted and would not have been appreciated, are still most +delightful as solo instruments. Its purity and fine quality carry it to +a much greater distance and produce a greater effect, than would arise +from larger instruments of less careful build and euphonic qualities. +Herein is discovered the difference between violins of the three great +masters named and others of the same name. If a small Nicholas Amati be +compared with a large model, it will be found that the quality is +similar, but the quantity is greater, and therefore the instrument +becomes more valuable. Again, in a Stradiuarius or Joseph Guarnerius of +the best period, which are of the flat model and most accurate build, +we find a pure ringing and deliciously rich quality, without roughness +or coarseness, that finds its way through everything to a great +distance, even in a crowded concert room. The differences in the three +great makers seems to be now decided to consist in fullness of tone and +quantity of power. The Amatis are essentially sweet and vocal. The +Stradiuarius—of similar quality, greatly increased in body and of a +more ringing bell-like character. The Guarnerius of the best model is +even still more powerful. But they all possess that essential purity +and richness of tone without which there is no real excellence. On this +head we find, therefore, that power, providing it be accompanied by the +other essentials of sweetness and purity, confers on violins the +greatest value. A Nicholas Amati of the grand pattern—a Stradiuarius +of the large flat model, or a Guarnerius of similar +characteristics—all of which have been built with the greatest care +and attention to the resonant qualities of the wood, and possess all +these essentials—are therefore the instruments that have and will +always command the greatest admiration. +</p> + +<p> +The next essential point in a good instrument we have to consider is +sweetness. This combines characteristics which are not essential to +power. A violin may possess the latter without the former. The tone may +be of a quality which will tell and carry, but not of that soft +delicious voice like nature which we call sweetness. The most admirable +instruments of this characteristic have been variously compared to a +flute or to the female voice. The latter is the best comparison. For +the brightest examples of this quality alone we must look to the small +violins of Antonius and Hieronymus, and also of Nicholas Amati. They +are of the most delicious quality, and for solo instruments cannot be +excelled. They respond with the most charming effect to the most +touching and passionate expression. A great player can really sing on +these with such a delightful effect as almost to compensate for the +want of speech. +</p> + +<p> +The third point is purity of tone. We may be said to have touched upon +this already in treating of the other two. But it is necessary to +allude to this also, because it is possible to have purity of tone +without sweetness or power. There are many instruments which from age +and use have lost all harshness or roughness of tone, but are still of +a thin piercing quality. These may be said to be pure in tone, but not +possessing the other requisites they fail in commanding attention. What +we have to look for in a violin is that roundness and fullness of +quality which are combined in the term sweetness. Tone cannot be said +to be sweet which is thin or piercing. It lacks one essential +characteristic. It is on this account that in the present day many of +the Steiner instruments have lost favour. There are a few which possess +both sweetness and purity, and they rank with the small Amatis. But the +best of them are wanting in power. This characteristic is only heard in +perfection in the Stradiuarius or the Guarnerius of Cremona, and the +great Brescian makers Gaspar di Salo and Magini. An amateur should look +therefore in purchasing an instrument whether it possesses these three +characteristics or any or which of them. +</p> + +<p> +We have now shown what are the essentials of a fine instrument, but as +the genuine productions of these great masters are mostly in the hands +of rich amateurs it is scarcely possible to become the happy possessor +of one of the perfect instruments. What then shall we do? The reply is +simple. Study the characteristics we have described, and you will find +in some of the pupils of the Amati, Stradiuarius, or Guarnerius a near +approach to this excellence. In fact it is well known that in the +scarcity of originals fine examples by the pupils have frequently been +sold as the work of the masters themselves. The Dictionary we have +compiled will tell the amateur what names will most probably supply the +qualities he desires. Care and attention will do the rest. +</p> + + + + +<a name="tone"> </a> +<p class="chapter"> +ON THE PRODUCTION OF GOOD TONE IN VIOLINS. +</p> + + +<p> +In the preceding chapter we have endeavoured to solve the question what +are the qualities that constitute good tone. We now propose to inquire +how good tone is provided for in the construction of the violin. We are +not about to enter into the scientific question. We wish merely to give +to the general amateur a knowledge which is often only acquired after +years of patient study and trial of instruments, by certain general +principles which will seldom or never be found to be incorrect in fact, +and then only through instruments being built on false rules in other +respects. In good instruments these rules may be said to be infallible. +</p> + +<p> +It is a curious fact that Gaspar di Salo and Magini, both early makers, +started with the principle which has since been brought to the greatest +perfection by the Cremona makers, and built on the flat model. Their +instruments are consequently found to possess much of the fine and +powerful tone which distinguishes Stradiuarius and Guarnerius. The +early Amatis, in the second place, built on a higher model, and their +instruments possess a sweet but not powerful tone. Steiner, thirdly, +built on a higher model still, and his instruments have a thin piercing +tone. We can only draw one conclusion from these facts—namely, that +the nearer we approach an entire flat in the model of a violin the +fuller, rounder, and more powerful the tone; other points of careful +work and good varnish being taken into consideration. This fact has +strongly impressed itself on the minds of scientific inquirers, and the +result has been, as tests of the principle, the production of flat +violins. These have been tried and reported satisfactory in the matter +of tone. But there are other points to provide for which a flat box +does not allow. To gain the requisite mass of air to produce good tone +a flat violin has to be made of a clumsy awkward shape. In the +beautiful modelled violin this is provided for in the rise of the back +and belly. The ribs may therefore be more or less shallow according to +the height of the model, and yet provide a sufficient space for the +necessary amount of air for the production of good tone. We arrive then +at this one certain fact, that the flatter the model of a violin the +greater the probability of a good fine tone. It is of such violins +therefore that we find the great performers possess themselves. This +may be said to be an infallible rule, and an examination of the +instruments of the most celebrated makers fully confirms it. +</p> + +<p> +Why therefore did the elder Amati, contemporary and probably pupil of +Gaspar di Salo, change the model and size of the instrument? This +inquiry brings us to the second rule for the amateur. There cannot be a +doubt that he adopted this plan because the flat model produced a more +powerful tone than was then required. He therefore, no doubt acquainted +practically, if not theoretically, with the principles of acoustics, +raised his model and decreased his size to provide for the production +of that eminently sweet tone which characterises his instruments. The +amateur therefore who desires tone of this description, but does not +want power, will generally find it in the model of medium height, +providing as in all other cases, the work and the wood are good. Of +this model are some of the sweetest toned violins to be found, of which +the Amatis are the type. +</p> + +<p> +Finally, many instruments are to be found constructed on Steiner's plan +with very elevated model flat on the centre, and falling off abruptly +towards the sides. These are all contrary to acoustic principles, and +their thin piercing tone is to be ascribed to the want of that +harmonious communication of vibration which their peculiar construction +inevitably indicates. +</p> + +<p> +Let, therefore, the amateur who wishes to be his own purveyor, examine, +with these principles impressed on his mind, whatever instruments he +can gain access to and the result will be that he will seldom err in +this matter. +</p> + +<p> +After this he must study the characteristics of good wood, careful +finish, and fine varnish. A knowledge of these is best acquired by +examining the instruments of the great masters. To go fully into these +also is not necessary here, having already commented on them under +their respective heads. One remark is, however, necessary here. Many +people foolishly imagine that <i>any</i> violin may be made to produce +as sweet sounds in the hands of a skilful player as a high class +instrument. This is a great mistake, and a convincing proof of its +fallacy may be drawn from the fact that all the great soloists play +upon high class violins. They do this moreover at a time when they +would gladly save the expense were it possible. A few instances may +interest the reader. +</p> + + +<a name="players"> </a> +<p class="firstchapter"> +<span class="sc">Great Players and their Instruments.</span> +</p> + +<p> +Joachim plays upon a Stradiuarius, Vieuxtemps on a Guarnerius, Ole Bull +on a Guarnerius and an Amati, De Beriot on a Magini, (of which he had +two very splendid examples, the second being now in the possession of +the author,) Carrodus a Guarnerius, and many other living instances. +Piatti a Ruggerius violoncello, Servais a Stradiuarius violoncello. +Past examples may be cited in Paganini, who played upon a Guarnerius, +Mori a Guarnerius, and Spagnoletti the same. Ernst used a Stradiuarius. +Dragonetti played on a Gaspar di Salo and a Stradiuarius double bass. +</p> + + + + +<a name="notes"> </a> +<p class="chapter"> +GENERAL NOTES. +</p> + + +<p> +In the last article, we have given some general rules for judging of +the probable tone of an instrument from its model. A few further +remarks on this and other important topics will well supplement what we +have said. +</p> + +<p> + 1.—Accurate judgment in violins can only be obtained by long +experience and seeing many instruments, and if possible those of a high +class. There are many little points which to a casual or careless +observer are invisible, but which a practised connoisseur detects +immediately, and thereby is enabled to declare the maker. A difficulty +will often present itself to a tyro in the knowledge of violins, from +the family likeness which it is possible to trace, for example, between +Amati, Stradiuarius and Bergonzi. These have a general resemblance +which indicates the coming from one school. This applies also in many +other cases—but every master has some distinct difference which is +perceptible to the practised eye. The faces of a flock of sheep are to +a stranger all alike; to the shepherd, each has its personal +individuality. It is the same with violins, which can be read by the +practised student as easily as we know each other by the countenance. +</p> + +<p> + 2.—It is erroneous to imagine that Cremonese instruments can be +successfully imitated, a very popular story about Paganini's Guarnerius +to the contrary notwithstanding, as the lawyers say. An attempt to +impose an imitation on a practised judge is always productive of an +unpleasant result. To fall from the sublime to the ridiculous is +especially awkward, and results in becoming very particularly +ridiculous yourself. This <i>must</i> be whenever a modern maker +attempts to make an ancient violin. There are practical difficulties +impossible now to get over—such as the varnish. The secret of making +the grand old varnish is lost, and therefore whatever is put on by a +modern tells the tale and cries aloud to the judge—This is a cheat! +</p> + +<p> + 3.—It is easier to imitate an old painting than an old violin, though +that is difficult enough to a good judge, but such an insuperable +obstacle as the old amber varnish does not puzzle the picture forger. +</p> + +<p> + 4.—In choosing an instrument it is better to select one of a flat +model, the sides of medium height, well proportioned and with good oil +varnish. +</p> + +<p> + 5.—We are inclined to think that all the great instruments of the +great makers are well known, and that there are none lying by unknown +to fame. +</p> + +<p> + 6.—Most of the more celebrated instruments are given a name of +distinction, such as the Yellow Stradiuarius, the Blood Red Knight +Guarnerius, the Ole Bull Guarnerius, the De Beriot Magini, the +Emmeliani Stradiuarius, the General Kidd Stradiuarius Violoncello, the +Servais Stradiuarius Violoncello, and others. These can be recognised +like the human face. +</p> + +<p> + 7.—The reason why Italian instruments are so superior to all others +must be ascribed to their exquisite make, the careful adjustment of the +various thicknesses of wood and the varnish, the secret of which +appears gone for ever. Perhaps another reason may be named in the wood +being so ripe and dry as to permit free vibration. +</p> + +<p> + 8.—The Cremonese obtained their colour in oil. The moderns get it only +in spirit, which imparts a hardness to the tone. Compare a Cremona with +the German and other imitations. Can't you hear how perceptible the +difference? The former is mellow and rich—the latter flinty and harsh. +This arises no doubt from the varnish. +</p> + +<p> + 9.—The Cremonese violoncellos were mostly made deeper by half an inch +at the bottom than at the upper part. Guiseppe fil Andreæ, Guarnerius, +Stradiuarius, Landulphus, and others observed this rule. The tone is +said to be greatly improved by it. +</p> + +<p> +10.—Some persons think it is very difficult to obtain an Italian +violin at a moderate price. It is not so. There are many whose makers +are not known, and also third class instruments of good qualities, +which can be obtained from £10 to £25. It is better to purchase one of +these than a baked copy or a new violin. Then again amateurs may resort +to the old French makers, some old English and the Tyrolean, which may +be had cheaper still. +</p> + +<p> +11.—A respectable dealer who is known to be a connoisseur of +experience, will never sell you a modern copy for an old Italian violin +with a long story of how he got it in some wonderful way. His character +is at stake. Beware of ignorance which assumes the mask of knowledge, +or of designing roguery which apes the appearance of innocence. +</p> + +<p> +12.—The present excellence of the old instruments arises from their +having been made thick in wood, which time has ameliorated and +mellowed, and now permits free vibration. It is much to be deplored +that many instruments have not been suffered to remain as the makers +left them, and that others under a false notion of giving an old tone +have been made too thin. +</p> + +<p> +13.—Had Magini, Gaspar di Salo, and other very old makers used as +little wood as some of their successors, where would their instruments +have been now? We are at the present time reaping the benefit of their +foresight. +</p> + +<p> +14.—There is evident proof of the deep interest the high class makers +took in endeavouring to advance the interests of their art. For +example, Stradiuarius sometimes put the widest grained wood on the +fourth string side, feeling it was the weakest and needed the open +grain. Sometimes he put it on the first string side. He was evidently +trying experiments. But he mostly adopted the former plan, no doubt +correctly. Again, they made instruments larger at the bottom than at +the upper part, gradually reducing in size and depth, an experiment +which observation has since found to be correct. They also made +instruments thicker under the bridge to enable them to bear the great +tension to which they are subject, and many other points showing how +perfect they became. They left little for modern ingenuity to discover. +</p> + +<p> +15.—Old instruments of character should be greatly prized and +carefully preserved, for it seems probable that there will be no others +to take their places, from many well known causes. +</p> + +<p> +16.—Makers of the present time have perverted their talents to +discover a means of producing the qualities of old instruments in new +ones, an achievement utterly impossible, as their efforts show. Many +make instruments with the greatest care, copying the plans of the old +masters—but instead of allowing Father Time to ripen them, they use an +acid to dry up the wood, or bake them. These are known by a peculiar +smell which tells the tale, and they get worse instead of better. +Again, they deem it wise to get a colour at any price, which can only +be done in our day by the use of spirit varnish. Did they use oil +varnish, our successors would at all events reap the benefit, if not +ourselves. The great masters were willing to wait for fame and tried +none of these dodges. Others again put the varnish on and rub it off in +places to resemble the wear of age. Much better would it be to cover +the instrument with varnish and leave age to do the rest. Such schemes +are futile and reflect discredit on those who adopt them. +</p> + +<p> +17.—The peg holes seen in old Italian violoncellos in the middle of +the back are where a peg was put to fasten the instrument round the +neck while playing in the Catholic Churches. +</p> + +<p> +18.—Stradiuarius in his early career frequently cut his wood to form +what are called slab backs, (explained elsewhere,) and sometimes used +pear tree for violoncellos. +</p> + + + + +<a name="repairs"> </a> +<p class="chapter"> +REPAIRS OF INSTRUMENTS. +</p> + + +<p> +We cannot part with the reader who has thus far accompanied us in our +labours, without making a few remarks on the important subject of +repairs. So many fine instruments have been ruined and the beauty of so +many more tarnished by the mal-addresse and ignorance of some so-called +restorers and repairers, that we think we shall be serving the admirers +of the violin by warning them against entrusting valuable instruments +to incompetent hands. A few notes will serve to illustrate the chief +subjects for care and some important items in fitting instruments +properly. +</p> + +<p> +1.—So-called repairs have been frequently so clumsily done, as to +damage old and valuable instruments to an extent impossible to remedy. +</p> + +<p> +2.—There are many instances where wood has been taken out of the +instrument under the idea of improving the tone. This is a fatal error, +and when the mischief is discovered it is replaced by new wood. Others +have done the same under another erroneous impression, that it will +give strength to the instrument to enable it to bear the increased +pressure caused by the higher pitch used at the present time. Whatever +the notion, the result is always bad. The grain of the new wood does +not come level with the old, and causes a sudden check to the +vibration. The glue also lying between the old and the new wood deadens +the sound. Some repairers have been guilty of this practice to a great +extent, and many fine instruments have been thus damaged. Let no one +under any plea tamper with the thicknesses of wood in a good violin. +</p> + +<p> +3.—The sound bar used by the old masters (as we have before stated) +and others of that period, was much shorter than is now used, and +consequently all have been changed. The present bar is quite sufficient +to bear the increased pressure required in our time, without resorting +to any other means. If an alteration be required an experienced +repairer only can know the kind of bar required. +</p> + +<p> +4.—The necks of the old instruments were short; they have therefore to +be lengthened if found in their old state. A good repairer will splice +a neck in so as to be scarcely perceptible. Much of the ease and +comfort of playing depends how this is done. +</p> + +<p> +5.—The sound post is a very important item in fitting an instrument. +There is a marvellous power in this simple contrivance. It should fit +as though it were part of the back and belly. An instrument can be +frequently cured of a bad description of tone by the slightest move of +the post. Those subject to what are termed wolfy notes can be remedied +or the bad notes shifted to less important ones. It is a mistake to +suppose there is a particular place for the sound post in all +instruments alike. It depends upon the model of the instrument to a +great extent. High models require the post nearer the foot of the +bridge than flat models. Others require the post thick or thin. The +regulating of the post should only be entrusted to the skilled hand, +and we would impress upon amateurs that it is better never to shift the +post themselves. Many instruments have had the sound holes spoiled and +the surface of the wood inside gored by unskilful tampering with the +post. +</p> + +<p> +6.—The bridge is another very important agent in regulating an +instrument. No general rule will serve for this matter. Some +instruments require the bridge thick, others thin. Some a close grain +and others the contrary. The bridge should be fitted as accurately as +the post, and as though it grew from the belly, the feet touching +equally all round. +</p> + +<p> +7.—Tail pieces are better quite free from ornaments, which frequently +cause the instrument to jar disagreeably. +</p> + +<p> +8.—The strings are of great importance. They should be adjusted to be +in perfect fifths. This is essential, otherwise it is impossible to +play double notes correctly in tune. It may be done with a little +trouble. When the instrument is in tune on the open notes, place the +finger across the strings, for example, at B on the second string, and +F on the first string. If the fifth is imperfect, tune one string a +shade higher, and try again. If then perfect it requires a smaller +string. If not, tune a shade lower than the perfect open fifth, if then +right when tried as before, it requires a thicker string.<a href="#note1" name="noteref1"> +<small>[1]</small></a> +</p> + +<br> +<hr align="left" noshade size="2" width="40%"> + +<p class="fn"><a name="note1" href="#noteref1"> [1]</a> We have seen a little instrument advertised to accomplish +this important matter without trouble. +</p> + +<p class="fn"> +<span class="sc">The Perfect Fifth's Gauge.</span>—"This useful +gauge is marked with such precision as to render all strings gauged by +it in accordance with each other producing perfect fifths, enabling +the performer to execute passages of double notes with the greatest +facility and correctness, at the same time effecting a considerable +saving of time and expense by entirely superseding the old method of +obtaining fifths by changing the strings." It is manufactured and sold +by Mr. John Hart, 14, Prince's-street, Leicester-square, London. +</p> + + + + +<a name="addenda"> </a> +<p class="chapter"> +ADDENDA. +</p> + + +<p class="hang"> +LARCHE, —— Brussels, 1847. Copyist of old makers. One of those who +endeavoured to produce an old tone by the use of acid, and consequently +spoiled the wood. +</p> + +<p class="hang"> +ALBANESI, —— Cremona, 1737. Similar to Testore of Milan, but broad +pattern. His instruments have a large tone, but poor varnish. +</p> + +<p class="hang"> +GOBIT, —— Venice, 1716. Made similar instruments to Ruggerius, and +used beautiful varnish. +</p> + +<p class="hang"> +GABRIELLI, —— Florence, 1740. Made excellent Violoncellos, yellow +varnish. Written labels. +</p> + +<p class="hang"> +ANTONIAZZI, GAETANO, Cremona, 1860. This maker sent a violin to the +Exhibition of 1862, but is much behind his predecessors. +</p> + +<p class="hang"> +FALCO, —— Cremona, 1752. Made well proportioned instruments. +</p> + +<p class="hang"> +HARRIS, CHARLES, London. An admirable workman. His instruments are +among the finest of the English. +</p> + +<p class="hang"> +GAGLIANO, NICHOLAS, Naples, pupil of Stradiuarius. We have a note +(omitted in its proper place) that this maker excelled in violoncellos, +many of which are covered with fine rich varnish, seldom seen on +instruments by the Gagliano family. +</p> + +<hr class="short"> + +<p> +In our notice of Stradiuarius Violins at <a href="#113">page 113</a> we should have said +that William Howard, Esq., of Sheffield, possessed <i>two</i> fine +examples—one as described and the other of the beautiful red varnish, +the latter formerly the property of the celebrated violinist Salomon, +for whom Haydn wrote his twelve grand symphonies. +</p> + +<br> +<p class="ctr"> +<small>PEARCE, PRINTER, SHEFFIELD.</small> +</p> + + + + + + + +<pre> + + + + + +End of Project Gutenberg's Violins and Violin Makers, by Joseph Pearce + +*** END OF THIS PROJECT GUTENBERG EBOOK VIOLINS AND VIOLIN MAKERS *** + +***** This file should be named 37309-h.htm or 37309-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/3/7/3/0/37309/ + +Produced by Markus Brenner and the Online Distributed +Proofreading Team at https://www.pgdp.net (This file was +produced from images generously made available by The +Internet Archive/American Libraries.) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + https://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. + + +</pre> + +</body> +</html> + diff --git a/37309-h/images/logo.jpg b/37309-h/images/logo.jpg Binary files differnew file mode 100644 index 0000000..fddc8c5 --- /dev/null +++ b/37309-h/images/logo.jpg diff --git a/37309.txt b/37309.txt new file mode 100644 index 0000000..1782659 --- /dev/null +++ b/37309.txt @@ -0,0 +1,3657 @@ +The Project Gutenberg EBook of Violins and Violin Makers, by Joseph Pearce + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Violins and Violin Makers + Biographical Dictionary of the Great Italian Artistes, + their Followers and Imitators, to the present time. With + Essays on Important Subjects Connected with the Violin. + +Author: Joseph Pearce + +Release Date: September 4, 2011 [EBook #37309] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK VIOLINS AND VIOLIN MAKERS *** + + + + +Produced by Markus Brenner and the Online Distributed +Proofreading Team at https://www.pgdp.net (This file was +produced from images generously made available by The +Internet Archive/American Libraries.) + + + + + + +VIOLINS AND VIOLIN MAKERS. + +BIOGRAPHICAL DICTIONARY OF THE + +GREAT ITALIAN ARTISTES, THEIR + +FOLLOWERS AND IMITATORS, + +TO THE PRESENT TIME. + +WITH ESSAYS ON IMPORTANT SUBJECTS +CONNECTED WITH THE VIOLIN. + + +BY JOSEPH PEARCE, JUN. + + +LONDON: LONGMAN AND CO., PATERNOSTER ROW. +SHEFFIELD: J. PEARCE, JUN. +1866. + + + + +CONTENTS. + + + PAGE. + +Preface 5 + +Introduction 8 + +Violin Makers, alphabetically arranged 15 + +Bow Makers 88 + +Cremona 93 + +Amati Family 93 + +Stradiuarius 107 + +On the Cremona Varnish 119 + +Guarnerius 121 + +Steiner 131 + +Why are certain Violins of more Value than others? 140 + +On the Production of Good Tone in Violins 148 + +Great Players and their Instruments 152 + +General Notes 154 + +Repairs of Instruments 162 + +Addenda 167 + + + + +PREFACE. + + +The Violin is an instrument which, though small and of trifling +original cost, has yet commanded most extraordinary prices. The reason +of the immense difference in the value of these instruments must +therefore be a subject possessing strong claims to notice from virtuoso +and amateur. + +To distinguish by the outward characteristics and peculiarities of +tone, that which will be of pecuniary value to the possessor, and yield +the utmost delight to the hearer, is an acquirement at once difficult +to obtain and very valuable when obtained. To assist the amateur and +collector in this pursuit is the object of the present little work. +Such a work has long been a desideratum. + +Of late years, the History of the Violin and its congeners has received +much attention. Elaborate and costly treatises have been published, +some of which being written in Foreign tongues, are exceedingly +difficult to obtain, and not accessible to many of those who desire to +peruse them, on that account. Others are very imperfect and +unsatisfying. Others again, are, from their high price, beyond the +reach of the greater number of amateurs. + +The present work is intended chiefly for the use of those who desire a +handy guide to the principal characteristics both of make and tone +which mark the chief builders of this most famous instrument. Many +persons anxious to possess a good instrument, and led away by the very +natural desire to possess an Amati, a Guarnerius, or a Stradiuarius are +tempted into purchasing Violins which are presented to them under false +and delusive titles, and reject frequently good and genuine instruments +of less famous makers, but still valuable because they are good and +genuine. Undoubted specimens of the great masters are now very rarely +to be had, unless at a very high price. Yet, when we consider that even +Stradiuarius himself obtained no more than four pounds for his best +instruments, which now command as many hundreds--it is evident that, in +the absence of those great productions, the works of his pupils and +successors are well worthy the attention of amateurs. There is no +doubt, indeed, that many of these, which from being built on his +principles are of first-rate quality, have been sold as those of the +master himself. It cannot, therefore, be questioned that a knowledge +which will lead the amateur to buy an instrument for what it really is, +instead of what it professes to be, will at once save him from the +unpleasantness of paying too dearly, and in real enjoyment yield all +that can be desired. + +The author believes he has in this work given the amateur and +connoisseur information not easily attainable elsewhere, but as he is +fully conscious that there may be imperfections in it still, he will be +glad to receive any suggestions or information which may enable him to +render it still more complete. + +Sheffield, February, 1866. + + + + +INTRODUCTION. + + +The two most pleasing, expressive, and powerful single instruments of +music are the human voice and the violin. The one, the gift of +beneficent nature, has from the creation exercised its touching +influence on the human soul--the other, the product of the ingenuity of +man, has only within the last three centuries attained to perfection, +but since that period what delight, what rapture has arisen from so +simple a construction, when acted upon by the hand of genius! + +While the melodious tones of Grisi and Mario have touched with +sympathetic feelings the hearts and imaginations of spell bound +listeners, how have the magic tones of Paganini and Ernst wrapped the +souls of wondering thousands in an elysium of delight and admiration! +What effect cannot be produced by the Violin, (except that of speech,) +which the voice can accomplish? + +The Violin in the hands of genius can draw tears or create laughter. +Whoever has heard the great masters of this extraordinary instrument, +has heard all the sweetness of tone, the intensity of feeling, the +power of expression that the most gifted sons and daughters of song +could possibly produce without the additional aid of speech. The +Violin, in fact, in its power of expression far excels those singers, +of whom there are too many, who while singing the notes, fail to make +their hearers understand the sense of their songs. If a merry dance is +produced by the agile bow, its sympathetic tones at once excite a +corresponding feeling. If a plaintive air streams in delicious and +heart-touching cadences from the strings, what soul is there so dead to +feeling as not to respond? + +The perfection of the Violin is that its master, if alive to the subtle +and mysterious influences of the imagination, can elicit from it the +most perfect and touching "songs without words." + +It is besides the only instrument, except the voice, which is perfect. +Every shade of expression, every nicety of tone can be produced on it. +All other instruments sink into insignificance in comparison with the +Violin, because they cannot do this. They are all more or less +imperfect; and therefore fail in those subtleties of expression of +which the Violin and the voice are such able exponents. + +What gratitude do we owe therefore to those great masters of Cremona, +more especially the Amati and Stradiuarius, who have succeeded in +bringing the Violin to its present state of perfection. + +Music has in all ages been a source of the purest delight. The greatest +poet and dramatist the world ever knew says that whoever "has not music +in his soul is fit for treasons, stratagems, and spoils." In the +present age the cultivation of Music forms one of the most general and +the most refined sources of amusement and pleasure. All ranks of people +are now privileged to join in its delightful enjoyments. + +Even the cottage of the artisan is now often elevated by the elegant +practice of music, through the increased facilities for producing +instruments at a cheap rate. The consequence is that in the present age +there is a more general study and a finer perception of what is good +and beautiful, and their elevating tendencies are doing much for the +mental cultivation and refinement of all classes. + +A very extraordinary feature of the musical world of the present day is +the enormous orchestras which can be produced on special occasions. A +chorus of several thousand voices supported by hundreds of instruments +may now be heard, rendering the immortal compositions of the greatest +masters of the divine Art, in the Peoples' Palace at Sydenham and +elsewhere. These Orchestras are chiefly selected from the ranks of the +people, of whom the artisan is the chief contributor. + +The reduction of the cost of instruments and the adoption of what may +be called the joint stock principle are tending still further to +enlarge the boundaries of the practical musical world. At any time and +for any special purpose it is now easy to secure a band and chorus +sufficient in numbers and executive power to render in an efficient and +powerful manner, the glorious productions of Beethoven, Mozart, Handel, +and other great masters. + +In all these transitions, the Violin bears a most important part. It is +the leading instrument in these great performances, as it is also, +after the voice, the most powerful medium of expression in solo. It is +also the peoples' instrument. + +The labours of many eminent violin makers who have followed in the +steps of the great masters have of late so immensely improved the art, +that a good instrument may now be possessed by any one. And it may +safely be said that with its improvement, has arisen also the extension +and wide spread practice of music generally. An ear accustomed to the +fine tone of a good violin will not now tolerate a bad piano-forte. + +The Piano-forte and the Violin are the most general instruments, and +they have alike participated in the improvements effected, in becoming +cheaper by the advance of science. Every description of machinery has +within the last fifty years received the attention of able men, and the +mechanical construction of the Piano-forte is one prominent proof of +the advantages which can be conferred by science on even the luxuries +of life. + +The Violin, also, seemingly the most incapable of mechanical +application to its manufacture, is said to be now made by a most +persevering and enthusiastic lover and follower of the great makers, by +mechanical means. Copies of these celebrated makers, are now said to be +manufactured by him with an uniformity, a certainty, and a precision +impossible except by the aid of scientific improvements. These +instruments are therefore understood to require only the ameliorating +influences of time and use to become fine in tone and satisfactory in +every respect. + +Every one interested in the progress of music, must rejoice at the +rapid development of its resources and the general spread of its +pleasures among the people. We are a profoundly commercial nation, and +it is delightful to see that in our greater wealth and prosperity, +rational amusements, and more especially music, go on increasing step +by step with our more business-like occupations. This class of +amusements must exercise a humanising and refining influence on the +habits and manners of the people, and they should be, therefore, +patronised and encouraged by all those whose means are large and their +example powerful. There can be no doubt that their tendency is for +good, and that those whose leisure hours are devoted to their practice +and study, will be richly benefited by them in all those qualities +which combine to make the good citizen and the estimable friend. + + * * * * * + +NOTE. + +To prevent too much space being taken up in the alphabetical portion of +this work, separate chapters are given on the four renowned Violin +Makers, Amati, Stradiuarius, Guarnerius and Steiner. The names and +dates of each of the members of these celebrated families are however +given in their proper places, for prompt reference. + +We have not in some cases been able to find any records beyond the +names of certain makers. Wherever possible we have given dates, places, +and style of work. + + + + +DICTIONARY OF VIOLIN MAKERS. + + +A. + +ACEVO, --- Cremona, Pupil of Guiseppe Cappa. This artiste made very +good violins in the style of the Amati. + +ADDISON, WILLIAM, London, 1670. + +AIRETON, EDMUND, London, 1730. A good and neat Maker. + +ALDRED, --- London, Early English Lute Maker. + +ALETZIE, PAULO, Monaco, 1720-30. Famous for his Violoncellos. + +ALBANI, MATTHIAS, born at Botzen or Bulsani, in the Tyrol, about 1621. +This artist was highly esteemed formerly, and Otto says that it is +exceedingly difficult to give so exact a description of them as readily +to distinguish them from those of Nicholas Amati, who was said to be +his master. In the present day, opinions are very different. +Nevertheless there are some fine instruments by this maker, of high +model, with reddish brown varnish and bearing a great similarity to +those of Steiner, of whom he was also said to be a pupil. The +"Dictionary of Musicians" speaks highly of this maker. This was +decidedly the best artiste of this name. + +ALBANI, PAOLO, Palermo and Cremona, was also under Nicholas Amati, +about 1659. + +ALBANI, --- son of the above, about 1712, was also a careful maker, +and turned out some good Instruments. + +AMATI FAMILY. + +For fuller particulars of these eminent makers, see separate Article. + +AMATI, ANDREAS, Cremona, born 1520, died 1580. + +AMATI, NICHOLAS, brother of the above, celebrated for his Basses. + +AMATI, NICHOLAS, son of Andreas. + +AMATI, ANTONIUS and HIERONYMUS. Sons of Andreas, 1550 to 1634, first +made together and afterwards separately. + +AMATI, NICHOLAS, born 1596, died 1684, son of Hieronymus. This was the +greatest maker of the family. + +AMATI, ANTONIO JEROME, do. 1640 to 1670. + +AMATI, HIERONYMUS, Son of Nicholas, born 1649, said to be the last of +the Amati family. A violin of his is mentioned, dated 1672. + +AMELINGUE, --- Paris, 18th Century. + +ANSELMO, PIETRO, Venezia, 18th Century. + +ARTMANN, GOTHA. Followed Cremona pattern. + +ASSALONE, GASPARD, Rome, 18th Century. Cremona patterns. + + +B. + +BACHMANN, LOUIS CHARLES, Berlin, born 1716, died 1800. Considered to be +one of the best makers of Germany. Otto says, the Instruments by this +Maker are next in point of quality to the Cremonese. Without going so +far, with our present increased knowledge of the pupils of the Cremona +makers, it may still be admitted that Bachmann was an excellent maker +and was very careful in his proportions, so that Amateurs have been +often deceived into thinking them genuine Cremonas. They are of the +flat Stradiuarius Model, made of good wood, with amber varnish, and +therefore present considerable similarity to their patterns. + +BAGANZI, --- see Bergonzi. + +BAGATELLA, PIETRO,--Padua, 1766. Said not to be very good. + +BAGATELLA, ANTONIO,--Padua, 1782. Author of a Work on the construction +of Instruments, from which Bishop in his Translation of Otto, has +appended a Theory for making a Violin on a very simple plan. He made +some excellent Violins after Cremona patterns. + +BAINES, --- London, about 1780. + +BAKER, --- Oxford about 1720. + +BALESTRIERI, THOMAS, This excellent Maker was a pupil of Stradiuarius, +and made after his model. The Author has seen an Instrument by this +Artist, which is of the large flat pattern and has a magnificent and +brilliant tone. The wood of the back and ribs rather plain--the belly +very fine open grain, purfling not very neat--varnish reddish yellow. +Pronounced by judges to be equal to a fine Stradiuarius. It is dated +Thomas Balestrieri, Cremonensis, fecit Mantua, 1757. This instrument is +a proof that amateurs may in future look with safety to the pupils of +Stradiuarius for violins to take the place of those of the great +masters, which are yearly becoming scarcer and dearer. + +BALESTRIERI, PIETRO, Cremona, rather earlier than Thomas. + +BANKS, BENJAMIN, Salisbury. Born 1727, died 1795. Foster in his +excellent work calls him "one of England's best manufacturers. Too much +cannot be said in praise of this justly celebrated Maker. The work of +all the better class of instruments is excellent, the tone good of all; +but that of the Violoncellos in particular is full and sonorous." Mr. +Gardiner in his "Music and Friends," says "Banks of Salisbury's +Violoncellos are of the finest quality of tone--not so strong and fiery +as Foster's, but in sweetness and purity excelling them." They are +chiefly of the Amati pattern.--The best Instruments have brownish +yellow Varnish with a tinge of red, others deep red of a blackish +tinge, Varnish not brilliant. + +BANKS, BENJAMIN, Son of the former, London, born 1754, died 1820. + +BANKS, JAMES and HENRY, Salisbury, other sons of the same. James is +said to have been an excellent workman in his father's style, and dates +about 1805. + +BARRETT, JOHN, London, about 1725. His labels state him to live at the +Harp and Crown, in Picadilly. He made some good instruments, but did +not purfle them. The author has seen a Violoncello by this maker which +was everything that could be desired in the matter of tone. The wood +and workmanship, however, were not equal to the tone, and this +circumstance will probably partly account for the settled preference +now given to the Italian instruments over all the old English makers. + +BARTON, GEORGE, London, died 1810. + +BEKMAN, SWENO, Stockholm, 1706. + +BELLOSIO, --- one of the Venetian makers, 18th Century. + +BENOIST, --- Paris, 18th Century. + +BENTE, MATTEO, Brescia, about 1580. Well known among virtuosi as a +maker of merit in the style of Gaspar di Salo and Magini. + +BERGONZI, or BAGANZI, FRANCISCO, Cremona, 1687. + +BERGONZI, CARLO, Cremona, 1712 to 1750. Considered by authorities to +be the best pupil of Stradiuarius. He made instruments of the same +beautiful and brilliant tone which has rendered the productions of his +master famous throughout the world. Constructed on similar principles, +and generally of well-chosen wood, there is no doubt the productions of +this excellent artiste will hereafter rank very high. Like Stradiuarius +himself, Carlo Bergonzi is by some considered to have been at one time +a pupil of Nicholas Amati. Every amateur would, if it were possible, +get a Stradiuarius, an Amati, or a Guarnerius, but as the genuine +violins of these makers are very rare and valuable, they should look +for the veritable instruments of their pupils, which are now beginning +to be highly esteemed on account of their intrinsic excellence. + +BERGONZI, NICHOLAS, Son of Carlo, but said to be inferior to his +father. + +BERGONZI, MICHAEL ANGELO, Probably another son of Carlo. He, also, has +the credit of being a pupil of Stradiuarius, though that seems rather +doubtful, because the latter died in 1737, at which time, if a son of +Carlo, he would not have been old enough. + +BERNADEL, --- Paris, 18th Century. + +BETTS, JOHN, called Old Betts, London, + +and + +BETTS, EDWARD, his nephew. + +These two well known makers were said to be pupils of Duke, but often +employed other artistes, such as Carter, Panormo, B. Fendt, and his +sons, whose work, chiefly imitations of the Cremona instruments, gained +them great reputation both at home and abroad. 1782 to 1823. + +BINTERNAGLE, --- Gotha, 18th Century. This maker was a German imitator +of the Cremona Violins, and is said to have been very successful. + +BOCQUAY, JAQUES, Paris, about 1620. A very good maker, and highly +esteemed in France. + +BODIO, --- Venezia, 18th Century. + +BOLLES, --- An early English Lute and Viol Maker. Mace, 1675, says +"one bass of Bolles, I have known valued at L100," equal to at least +L600 of our present money. + +BORELLI, ANDREAS, Parma, 1740. + +BOULLAINGER, --- London. A careful maker, who first worked for others, +and now on his own account. + +BREMEISTER, JAN., Amsterdam, 1707. + +BROSCHI, CARLO, Parma, 1744. + +BRETON, Le, Paris. + +BROWN, JAMES, born 1670, died 1834, + +and + +BROWN, JAMES, son of do., born 1786, died 1860. Both good workmen, but +without any speciality. + +BUCHSTADTER, --- Ratisbon, 18th Century. Used the flat model. Otto +says the wood is not good, and therefore, though well built, the tone +is not fine; but Spohr puts his violins on his list as excellent +instruments. He may, therefore, be ranked among the good German makers. + +BUDIANI, JAVIETTA, Brescia, about 1580. Made after the style of Gaspar +di Salo. + + +C. + +CAESTA, PIETRO ANTONIO DELLA, Trevisa, 18th Century, imitated +Stradiuarius. + +CAMILE, CAMILUS de, Mantua, esteemed as a pupil of Stradiuarius. + +CAPPA, GIACHIMO or GIOFREDA or probably two Brothers, born at Cremona +and worked under Amati. Date there about 1590 and were in Piedmont +1640. There are some good Violoncellos of this make. + +CAPPA, GUISEPPE--Saluzzo--end of 16th Century. + +CAPPER, --- or probably Cappa, Mantua. A Violin of this make was sold +by auction in London in 1861, and said to be very good. + +CARTER, JOHN, London, 1789, made some excellent instruments which were +sold both under his own name and under that of John Betts for whom he +had worked. + +CARLO, GUISEPPE, Milan 1769. + +CASSINO, ANTONIO, Modena, 17th Century. + +CASTAGNERY, JEAN PAUL, Paris 1639 to 1662. This artist is considered to +be one of the best of the old French Makers. One authority says they +have a fine silvery tone but not powerful. + +CASTAGNERI, ANDREA, Paris. 18th Century. + +CHANOT, --- Mirecourt, France, a good maker, 18th Century. + +CHANOT, --- London. + +CHAPPUIS, (or Chappuy,) AUGUSTINE, about 1710. + +CHARLES, THERESS, London. + +CHEROTTE, --- Mirecourt, 18th Century. + +CHEVRIER, --- Paris, 18th Century. + +CHRISTA, JOSEPH PAUL, Munich, 1730. + +CHRISTOPHORI, BARTOLOMEO, Florence, 18th Century. + +CIRCAPA, THOMASO. Naples, 1730. + +CLARK, --- London. + +COLE, THOMAS, London. Forster says no instrument has been preserved of +this maker, but that is a mistake. There is in the neighborhood of +Sheffield, a very large Tenor with a fine deep tone and the following +curious label. + + Made 1690, by + THOMAS COLE of + London, on Holborn Hill, who selleth + all sorts of Musical Instruments. + +COLLINGWOOD, JOSEPH, London, 18th Century. + +CORSBY, GEORGE, believed to be formerly a maker at Northampton, and now +and for a long time a dealer in Violins, &c., in Princes' Street, Soho, +London. + +CONWAY, WILLIAM, 1745. + +COLLIER, SAMUEL, 1755. + +CRASK, GEORGE, of various places, has made many Violins in imitation of +the Cremona Makers, some of which have been sold by unscrupulous +dealers as genuine instruments, an example of which we have seen which +was purchased by a professional man, since dead, of a Violinist then on +a Musical Tour. It is only right here to say that we believe Mr. Crask +to be entirely free from blame in this matter, as he sells these +instruments as his own productions. + +CROWTHER, JOHN, 1755 to 1810. + +CROSS, NATHANIEL, London, about 1720. He was partner at one time with +Barak Norman and used his monogram sometimes. He also stamped a Cross +in the inside of his instruments as well as used it in his labels. He +made some good Violins, which resemble those of Steiner. His mark in +the inside of the back is here given. + + + + N. C. + +A violin of this make which we have seen, has the great fault of having +the bass bar cut out of the solid, instead of being glued in, thus +contravening the established principles of the art. + +CONTRERAS, JOSEPH, Madrid, 1746. An excellent maker, who was +particularly celebrated for his copies of Stradiuarius. + + +D. + +DARDELLI, PIETRO, Mantua, about 1500. Made good rebecs, violas and +viols da gamba. Fetis mentions some of them as still existing. + +DECOMBRE, AMBROISE, Tournay, 1700 to 1735, was said to be one of the +pupils of Stradiuarius and made some good instruments of his pattern. + +DESPONS, ANTOINE, Paris,--one of the good French Makers, about 1725. + +DICKENSON, EDWARD, 1754. + +DICKSON, JOHN, Cambridge, 1779. + +DIEHL, NICHOLAUS, Darmstadt, 17th Century. + +DITTON, ---- London, about 1720. + +DODD, THOMAS, Son of Edward Dodd of Sheffield, and who died in London +in 1810, at the great age of 105 years (see Bow Makers). Thomas Dodd's +instruments have had considerable reputation, but it is believed he was +not a maker himself, but employed Bernard Fendt and John Lott, through +whose excellent workmanship his name, which he put on the labels, +became well known. + +DODD, THOMAS. Son of the above; he was drowned in 1843. + +DOMINISCELLI--Ferrara, 18th Century. A good workman. + +DUKE, RICHARD, London, 1767 to 1777. This Artist was very celebrated in +his day and his instruments commanded very good prices. He frequently +stamped his name on the back, but as far as we have seen, only on +inferior productions. Very good instruments may now occasionally be met +with at low prices in consequence of the great prejudice in favour of +the Italian and other foreign makers. + +DURFEL, ---- Altenburg, made good double Basses. His violins are also +said by one authority to be excellent in point of tone. + +DUIFFOPRUGCAR, GASPARD, born in the Tyrol, established in Bologna in +1510, and went to Paris at the invitation of Francis 1st. He afterwards +removed to Lyons. This appears to be the first maker of the genuine +Violin we have on record, and some instruments still exist to attest +the excellence to which he had reached. M. Vuillaume, possesses a Bass +Viol, and other Parisian Collectors possess instruments by this ancient +artiste. + + +E. + +EBERLE, JEAN ULRIC, Prague, 1749. Otto says this is one of the most +celebrated German Makers and his instruments have been frequently taken +by experienced connoisseurs for Italian; the difference being that they +"have a sharper or rather not so round and full a tone." Connoisseurs +could not be very experienced at that time, if they could mistake for +Cremonese, instruments possessing this characteristic, which is exactly +what distinguishes the inferior instruments from the genuine. + +EBERTI, TOMMASO, about 1730. + +EDLINGER, THOMAS, Prague 1715. + +EDLINGER, JOSEPH JOACHIM, Prague, son of Thomas. Visited Italy, and +afterwards built some excellent instruments; died in 1748. + +ERNST, FRANCOIS ANTOINE, born in Bohemia in 1745. This artiste made +some excellent instruments which are said almost to reach the Cremonas +in tone. He was also the Author of a Treatise on Instruments. The +celebrated Violinist Spohr, author of "the Violin School," is said to +have at one time used one of this maker's instruments. + +EVANS, RICHARD London, 1742. + + +F. + +FARINATO, PAUL, Venezia, about 1700. + +FENDT, or FINTH, Paris, 1763-80. Made good instruments after the +Stradiuarius model, some of which followed his style so carefully as to +have been taken for those of that master. + +FENDT, BERNHARD, born 1775, died 1825. Nephew of the above. He worked +first for Dodd and afterwards for old John Betts. He was a capital +workman and made many fine imitations of the Cremonese instruments. + +FENDT, BERNARD SIMON, Son of the above, born 1800, died 1852, became +partner with Purdy in the well known firm of Purdy and Fendt. + +FENDT, MARTIN, brother of the above, born 1812, died 1845. + +FENDT, JACOB, born 1815, died 1849. + +FENDT, FRANCIS. + +FENDT, WILLIAM, Son of Bernard Simon, born 1833, died 1852. + +All the Fendts have the reputation of being excellent workmen. + +FICHTOLD, HANS, 1612, is said to have made good instruments. + +FICKER, JOHANN CHRISTIAN, Cremona 1722. + +FICKER, JOHANN GOTLIEB, Cremona 1788. + +FLEURY, BENOIST, Paris, about 1720. + +FLORENTUS, FLORINUS, Bologna, 1690. Followed the Amati patterns, and +has a good reputation in that style. + +FORSTER, WILLIAM. The first Violin maker of this now celebrated name, +born 1713, died 1801. + +FORSTER, WILLIAM, born 1739, died 1808. This maker was very celebrated +for his Violas and Violoncellos. He appears to have followed the +Steiner pattern in 1762, and the Amati pattern in 1772. His common +instruments were not purfled, second class purfled but still much +inferior to the third class, "in which," says an authority, "everything +was embodied to conduce to excellence and beautiful appearance and to +the finest tone;" and again, "his instruments are second to none in +merit and the best Europe has ever known, especially his amber coloured +Violoncellos, which are renowned for mellowness, volume, and power of +tone, equalled by few, surpassed by none." We need scarcely say that +this opinion is rather strongly expressed, and may be considered +partial. Without at all detracting from the real excellence of Wm. +Forster's instruments, which is very great, we may confidently assert +that the great Cremona Makers have had no rivals. Whether in power, +purity, and sweetness of tone--or beauty of wood and workmanship--the +best instruments of Nicholas Amati, Antonius Stradiuarius, and Joseph +Guarnerius have never yet been equalled. Wm. Forster's Violoncellos +have, however, (in England at any rate,) been held in high esteem both +by players and amateurs, and have realised good prices. + +FORSTER, WILLIAM, the third of the name born 1764, died 1824, known as +young Forster. His instruments are not so good as those of his father, +but still excellent productions. + +FORSTER, WILLIAM, the fourth of the name, born 1788, died 1824. A good +workman, but not equal to the second William Forster. + +FORSTER, SIMON ANDREW, son of the above, born 1801, author, in +conjunction with William Sandys, F.S.A., of a most elaborate and +excellent work from which these particulars are taken, entitled +"History of the Violin and other Instruments played on with the Bow, +from the remotest times to the present." He is also like the rest of +the family, a maker and bears a good reputation. + +FORSTER.--Of this noted family Dubourg in his amusing and interesting +book, "The Violin," speaks in complimentary terms. He says, "The +Forsters, old and young, grandfather and grandson, have, in their +department of art, a name that lives." + +FOURRIER, NICHOLAS, born at Mirecourt. Settled in Paris, died 1816; +good maker, after the Cremona school. + +FRITZCHE, SAMUEL, Leipsic, 1787, pupil of Hunger, and made similar +instruments. They are of the Italian model and have amber varnish. + +FRITZ, BERTHOLD, Leipsic, 1757. + +FRANKLAND, ---- London, 1785. + +FREY, HANS, Nuremberg, lute maker, 15th Century. + +FURBER, DAVID, about 1700. + +FURBER, MATTHEW, son of David, 1740. + +FURBER, JOHN, grandson of David, 1759. + +FURBER, MATTHEW, son of the above, died 1840. + +FURBER, JOHN, son of Matthew, 1840. + + +G. + +GABRIELLE, GIOVANNI, BAPTISTA, Florence, 18th Century, considered to be +a good Maker. + +GAGLIANO, or GALIANO, ALESSANDRO, Naples, about 1710, is generally +reckoned as one of the pupils of Stradiuarius, but was more probably +only one of his imitators. He made some good instruments of the +Stradiuarius model, which possess a bright and sparkling tone; they +are, however, generally characterised by less power of tone, +Stradiuarius having in this particular the advantage over nearly all +his imitators, some of his personal pupils being perhaps the only +exceptions. + +NOTE.--M. Fetis commences the line of the Gaglianos with Nicolo, 1700, +ten years earlier than Alessandro, whom he also calls Gennaro, and +ranks him as a maker formed under one of the immediate pupils of +Stradiuarius. + +GAGLIANO, JANUARIUS, Naples, 1740. Son of Alessandro. + +GAGLIANO, NICHOLAUS, Naples. Another son of Alessandro. + +GAGLIANO, FERDINANDO, Naples, made to 1790. + +GAGLIANO, GUISEPPE, Naples, 1790. + +GAGLIANO, GIOVANNI, Naples. + +GAGLIANO, ANTONIO, Naples. + +GAGLIANO, RAPHAEL, Naples, son of Giovanni. + +GAGLIANO, ANTONIO, Naples, son of Giovanni. + +GAGLIANO FAMILY. + +Most of the instruments made by the Gagliano family possess a good +quality of tone, and Amateurs who have no necessity for that great +power which Stradiuarius and Guarnerius conferred on their best +productions, will do well to secure any genuine Gagliano which they may +meet with, rather than risk the chance of getting less merit, under a +more pretentious name. + +GALERZENA, ---- Piedmont, 1790. + +GAND, ---- Paris. A first-rate maker. He was son-in-law to Lupot. + +GARANA, MICHAEL ANGELO, Bologna. An excellent maker, about 1700, +considered by Fetis to be a pupil of one of those celebrated makers +formed in the Cremona schools. + +GATTANANI, ---- Piedmont, 1790. + +GAVINIES, ---- Paris, 18th Century. + +GEDLER, JOHANN ANTONY, Fissen, Bavaria, 18th Century. + +GEDLER, JOHANN BENEDICT, same place and same date. + +GERANS, PAUL, Cremona, about 1615. + +GERLE, JEAN, Nuremberg, about 1540. Made Lutes, Viols da Gamba, &c. + +GILKES, SAMUEL, London, 1787 to 1827. Pupil of the Second William +Forster. An excellent maker. His work was most highly finished and his +varnish of a rich quality. + +GILKES, WILLIAM, born 1811. Not equal as a maker to Samuel. + +GIORDANE, ALBERTO, Cremona, 1735. + +GOBETTI, FRANCISCO, Venezia, about 1700. A pupil of Stradiuarius, and +an excellent artiste. + +GOFILLER, MATTEO, Venezia, about 1725. A good maker after Cremona +patterns. + +GOFILLER, FRANCISCO, Venezia. Brother to Matteo, similar, same date. + +GRAGNARIUS, ANTONIO, early part of 18th Century. + +GRANCINO, GIOVANNI, Milan, middle of 17th Century. + +GRANCINO, PAOLO, do. do. + +GRANCINO, GIOVANNI BAPTISTA, Milan, son of first named. + +GRANCINO, GIOVANNI BAPTISTA, Milan, early in 18th Century. + +GRANCINO, FRANCISCO, son of Giovanni Baptista. This artiste made to +about 1760, or rather later. + +GRANCINO FAMILY. + +These makers produced some very good but not handsome instruments. +Lindley is said to have had a Violoncello by one of the Grancinos, the +tone of which was very fine and powerful, with light yellow varnish +darkened by age; the wood of back and sides very plain, but the belly +very fine. + +GROBITZ, ---- Warsaw, about 1750. Made some good instruments of the +Steiner model. + +GUERSAN, ---- Paris. An excellent maker, small model, careful finish, +and fine tone; about 1730. + +GUGEMMOS, ---- Fissen, Bavaria. + +GUIDANTUS, GIOVANNI FLORENUS, Bologna, about 1750. An excellent maker. + +GULETTO, NICHOLAS, Cremona, about 1790. + +GUADAGNINI, LORENZO, Cremona, 1690 to 1720. Pupil of Stradiuarius and +highly esteemed as a maker. Followed the style of his celebrated +teacher. + +Guadagnini is one of the makers especially recommended by Spohr when +one of the three great masters cannot be procured. A good specimen of +his work will always command a good price. + +GUADAGNINI, LORENZO, Placentia and Milan, 1742. Made instruments +generally of the smaller model. Was a careful workman and finished his +instruments well, and used good varnish. + +GUADAGNINI, BAPTISTA. Same places and about same dates, and made +similar instruments. + +GUADAGNINI, GUISEPPE, Turin, 1751. + +GUADAGNINI, GUISEPPE, Parma, 1793. + +GUARNERIUS FAMILY. + +A more extended account of these great masters will be found in a +separate chapter. + +GUARNERIUS, ANDREAS, Cremona, horn 1630, dates to 1680. Pupil of +Hieronymus Amati. + +GUARNERIUS, GUISEPPE, son of Andreas, Cremona, dates from 1690 to 1730. + +GUARNERIUS, PIETRO, another son of Andreas. Removed in the latter part +of his life from Cremona to Mantua. + +GUARNERIUS, JOSEPH, nephew of Andreas. Known as Joseph to distinguish +him from his cousin of the same name, but who is generally known as +Guiseppe. Joseph was the great maker of the family, born 1683, died +1745, at Cremona. + + +H. + +HARBOUR, ---- London, 1785. + +HARDIE, MATTHEW, Edinburgh, about 1820. Made some good instruments +which occasionally possessed great power, but not always very neat +finish. + +HARDIE, THOMAS. Son of Matthew, Edinburgh, was also a good +workman--died in 1856, from accidentally falling down stairs. + +HARE, JOSEPH, London, 1720, is said to have been the first in England +to introduce the flat model, all the makers before him and for some +time after, following the elevated model of Steiner. He also introduced +a varnish of greater transparency than was generally used at that time +in England. + +HARRIS, CHARLES, London, about 1815. + +HARRIS, CHARLES. Son of the above. + +HART, JOHN, of Princes Street, Leicester Square, London, pupil of +Samuel Gilkes, is a maker; and restorer of instruments, in which latter +capacity we have pleasure in stating him to be worthy of the extensive +reputation he has acquired. He is also a great connoisseur in old +instruments, and has the honour of having formed most of the fine +collections in this country. The largest price ever given for a Violin +was for one imported by him and which from its beauty, model, varnish +and perfection of condition is known by the name of the King Joseph +Guarnerius. This instrument is considered quite unique and was sold for +700 guineas. The celebrated collection of Charles Plowden, Esq., which +embraces four fine instruments of Stradiuarius and four of Joseph +Guarnerius, and which is acknowledged to be the finest collection in +the world, was also formed by Mr. Hart. Mr. Plowden's taste being +highly cultivated, he rejects any instrument which is not of the very +highest order, and therefore it reflects great credit on Mr. Hart's +judgment to have succeeded in placing so many fine instruments in the +collection of so critical a connoisseur. We shall have occasion to +mention other celebrated instruments in the Chapters on the Great +Masters of the Art. + +HASSERT, ---- Rudolstadt, 18th Century. Made instruments of a high +model, which though he used good wood and finished them carefully, did +not possess very good tone. Very few makers have succeeded in imparting +superior tone to high built instruments. + +HASSERT, ----, Eisenach, 18th Century, brother of the above--adopted a +different system, and followed the flatter model of the Cremona School +with considerable success. His instruments are remarkable for beautiful +wood, and Otto speaks very highly of them, saying that many of them can +only be distinguished from the genuine Italians by experienced judges. +In the present day we think Otto was partial to his own countrymen's +work, and that there are very few German instruments which can be taken +for Italian by judges. + +HEESOM, EDWARD, London, 1750. + +HELMER, CHARLES, Prague, 1740. This artiste was a pupil of Eberle, and +is considered a careful workman, but used too light a bass bar, which, +unless a stronger one be substituted, depreciates the character of his +instruments. + +HILDEBRANT, MICHAEL CHRISTOPHER, Hamburg, 1765. Esteemed as a good +maker. + +HILL, WILLIAM, London, 1740. Made some good instruments, but they are +said to be deficient in quality in consequence of being built on a +wrong principle, the centres having too little wood. + +HILL, JOSEPH, London, 1770, brother of the above. Reckoned a superior +maker to his brother, and produced some very excellent Violoncellos +which obtained him a good reputation, and caused him to be classed high +among English makers, but like the others, he is now depreciated in +value below his real merits. + +HIRCUTT, ---- English maker, about 1600. + +HOFFMAN, MARTIN, Leipsic, is said to be chiefly known as a skilful lute +maker. His Tenors are considered good, and Otto says his violins have +an excellent quality of tone when unspoiled, but are not esteemed on +account of their ungraceful appearance. + +HOLLOWAY, J., London, 1794. + +HORIL, ---- (Italian) about 1720. + +HULLER, AUGUSTINE, Shoeneck, 1775. + +HUME, RICHARD, Edinburgh. An early English lute maker; about 1530. + +HUNGER, CHRISTOPHER FREDERICK, Leipsic, 1787. A good maker who followed +the Italian style, used good wood and amber varnish. This maker is +classed among the superior German artistes, and his instruments are +said to be beautiful. + + +J. + +JACOBS, ---- Amsterdam, 18th Century. This maker imitated the Amatis +and produced some good instruments after their Models which also +partook of their sweet tone but had little power. One authority we have +consulted calls this maker a pupil of Amati, and states that he used +whalebone purfling. + +JAYE, HENRY, London, 1615. Of this maker we have not been able to find +any account unless it be to him that Mace (1676,) refers when he says, +speaking of the makers of Viols, "Of such there are no better in the +world, than those of Aldred, Jay, Smith" &c. He was certainly an +excellent maker judging from an instrument we have seen which has been +converted into a small Violoncello with four strings. It is handsomely +finished, with ornamental purfling and good varnish and a well carved +head. As a small violoncello the tone is also very good. Dated "in +Southwarke," 1615. + +JAY, THOMAS, London, about 1700. + +JAY, HENRY, London, 1750. It appears that this artiste was best known +as a maker of Kits, which were very well made and for which he obtained +the extraordinary price in those days of five pounds each. When we +remember that four pounds was the price that Stradiuarius got for his +best violins in his life time, and from an anecdote told by Mr. +Forster, that Cervetto could not even get that price for some he got +direct from the maker, we see one of those extraordinary freaks of +fashion for which, to use the expression of my Lord Dundreary, no +fellow can account. + +JAUCH, ---- Dresden, about 1765, is said to have made good instruments +on Cremona models, and is generally placed among the good German +makers. + +JOHNSON, JOHN, London, 1753. + +JULIANO, FRANCISCO, Rome, 1700. + + +K. + +KAMBL, JOHANN, CORNELIUS, 1635. + +KENNEDY, ALEXANDER, London, died 1785, and considered to be about 90 +years of age. This artiste obtained considerable reputation for good +and neat work. He followed the Steiner model, and used yellow varnish. +It is not known that he made any other instruments than violins. + +KENNEDY, JOHN, London, died in 1816, and considered to be 86 years of +age. Made violins and tenors of the Steiner model. + +KENNEDY, THOMAS, son of John, London, bears the reputation of a good +and neat artiste, and is said to have made at least 300 violoncellos +and other instruments in proportion. + +KEKLIN, JOAN, Brescia, about 1450. This artiste is believed by some +inquirers to be the earliest maker of the violin proper, but Fetis says +that the only instrument of his that is known, and which was in the +possession of Koliker of Paris, and dated 1449, was not really a +violin, but a viol with changed neck and mounted with four strings. It +would appear, therefore, that the merit of the actual introduction of +the real violin belongs properly to Gaspar di Salo. + +KIAPOSSE, SAWES, Petersburg, 1748. + +KLOTZ, MATTHIAS, Tyrolese, about 1675, considered by Fetis to have been +a pupil of Steiner, and the first violin maker of this well known name. +He made some instruments, which established his reputation as a careful +artiste. + +KLOTZ, EGITIA. This maker, who appears to have been a son of Matthias, +is often considered to be the best maker of this Family. He is commonly +called the pupil of Steiner, but that must be doubtful. More probably +he followed the Steiner traditions as exemplified by his father. He +used amber varnish, good wood, and his instruments are well made and +have his own name upon them. + +KLOTZ, GEORGE, brother of Egitia. + +KLOTZ, SEBASTIAN, another brother. We believe this artiste to be the +best maker of the Klotz family. He built large sized violins, which +possess a fine tone and have excellent varnish. + +KLOTZ, MICHAEL,--1771. + +KLOTZ, JOSEPH, son of Egitia, Mittenwald an der Iser, 1774. Otto says +this artiste built after his father's system--but was better acquainted +with the qualities of wood, and his instruments are therefore superior +in tone, but are badly varnished in their original state. + +THE KLOTZ FAMILY. + +Spohr enumerates Klotz among the makers whose instruments are worthy of +attention, but does not indicate which of them in particular. We have +before expressed our opinion that Sebastian ranks highest in merit, +which is corroborated by the most experienced connoisseur of the +present day. Some violins of this name have achieved a high reputation. +Parkes, in his "Musical Memoirs," mentions a Klotz Violin belonging to +Mr. Hay, the Leader of the King's Band, for which a Noble Lord offered +L300 and an annuity of L100. This seems a most extraordinary offer, for +any instrument, unless it were a very fine Stradiuarius or Guarnerius. + +KOHL, JEAN, Munich, Luthier to the Court, about 1570. Fetis states that +from some old accounts he finds he was paid two florins for a lute, a +strange discrepancy in value from the statement of Mace a century +later.--(See Bolles.) + +KOLDITZ, MATTHIAS JOHANN, Munich, 1722. + +KOLDITZ, JAQUES, Rumbourg, in Bohemia, 1790; said to be very good. + +KOLIKER, ---- Paris, a noted maker and collector, about 1750. + +KNITTING, PHILIP, Mittenwald, 1760. + +KNITL, JOSEPH, Mittenwald, 1790. + +KRINER, JOSEPH, Mittenwald, 1785. + + +L. + +LACASSO, ANTONIO MARIA, Milan, probably the same as Lausa. + +LAGETTO, Paris, about 1650. Followed the Amati patterns. + +LAMBERT, JOHANN HENRY, Berlin, 1760. + +LAMBERT, ---- Nancy, 1760. A prolific but not very careful maker, which +gained him the name of the Lute Carpenter. + +LANDOLPHI, CARLO, Florence, 1750. An excellent maker, who followed the +Cremona patterns with considerable success. + +LANDOLPHI, FERDINAND, Milan, about same date. + +There appears to be some doubt whether there was more than one +Landolphi, his name being Carlo Ferdinand, but being mentioned as of +both Florence and Milan, and the Christian names given separately, +there may have been two. Fetis only mentions Carlo, and locates him at +Milan. + +LAUSA, ANTONIO MARIA, 1675. A capital imitator of Magini and Gaspar di +Salo's instruments, but is said not to have succeeded in rivalling them +in tone. + +LAUTTEN, L. W. No particulars of this maker; but we find a violin by +him in a Catalogue, described as "fine and handsome." + +LECLERC, ---- Paris, 18th Century. + +LENTZ, JOHANN NICHOLAUS, London, about 1800. Considered a good workman. + +LEWIS, EDWARD. London, about 1700. An excellent maker, used good wood, +fine varnish, chiefly of a yellow colour, and was notable for his +excellent finish. + +LINELLI, or LINAROLLA, ---- Venezia, about 1520. A maker of rebecs, +viols, and viols da gamba. + +LOTT, JOHN FREDERICK, London, born 1775, died 1853. An excellent +workman, who made many instruments for Thomas Dodd. He is also very +generally known as a first-rate double bass maker. + +LOTT, GEORGE FREDERICK, son of the above, was also an excellent +workman, and is said to have been chiefly employed by dealers. + +LOTZ, THEODORE, Prestburg, about 1735, has a good reputation as a maker +of violins. + +LUPOT, FRANCOIS, Stuttgard, about 1770. + +LUPOT, NICHOLAS, son of Francois, born at Stuttgard, 1758; went to +Orleans, 1786, and Paris, 1794; died 1824. This artiste deserves the +title of the King of the French makers. He followed the model of +Stradiuarius, used excellent wood and good varnish, much in the style +of that master. His violins are very fine in tone and resemble the +Italian more than any other maker's. Tolbecque, the violinist has two +very fine specimens. His instruments have been frequently selected by +the French Conservatoire as prizes for their pupils. They now fetch +high prices. Dubourg calls him "a studious artist, whose instruments +are in request when a good Cremona is unattainable." He also says, +"sixty guineas have been refused for one of his best violins." Spohr in +his "Violin School," also recommends his instruments. This artiste +published a work on the construction of violins, called "La Chelonomie, +on le parfait Luthier." + + +M. + +MAGGINI, GIOVANNI PAOLO, Brescia, 1590 to 1640. This celebrated artiste +was a pupil of Gaspar di Salo. His instruments are highly esteemed, and +are both rare and valuable. They are generally of a large pattern, with +elevated model, reaching almost to the edges; narrow ribs, double +purfling, frequently ending on the top and bottom of the back with an +ornament in the shape of a leaf--and fine yellowish brown or golden +coloured varnish, of good quality. Some few are said to have deep brown +varnish. They possess a tone of a peculiar character--deep, solemn, and +somewhat plaintive. Dubourg describes it as "less soft than that of a +Stradiuarius, and less potent than a Guarnerius, approaching that of a +viol, and has in it a touch of melancholy." From their size these +instruments had not been in great favour with violinists until the +celebrated DeBeriot introduced one, which from its splendid tone +brought them at once into esteem, and for which he has been offered +almost fabulous sums. + +MAGGINI, PIETRO SANTO, Brescia, son of Giovanni Paolo, 1630 to 1680. +Followed the same style as his father, but was more particularly famous +for his double basses, which the Italians consider to be the best ever +made, after those of Gaspar di Salo. + +MAIER, ANDREA FERDINAND, Salzburg, 1746. Little is known of this maker +except that he made the small instrument on which the immortal Mozart +first learned to play the violin, which event, could he have foreseen, +would no doubt have compensated him for the want of more general fame. + +MALDONNER, ---- Bavaria, about 1760. + +MALLER, LAUX, Venice. This artiste was an early and highly esteemed +maker of lutes. Mace in his curious and very interesting book, "Music's +Monument," mentions him as one of the best authors, _i.e._ makers. He +also says he has "seen two of his lutes ('pittiful, battered, cracked +Things,') valued at L100 apiece." Mace's book was published in 1676. +Think of L100 for a lute two hundred years ago, when the value of money +was at least six times less than it is now! This would make the +comparative value of a "battered" old lute about L600, a sum (with the +exception of the King Joseph Guarnerius, mentioned elsewhere) exceeding +the highest price we have heard of in modern times. Even the most +splendid and perfect violins of Stradiuarius have never realised as +much as this "pittiful battered lute!" In the face of this fact (as we +suppose it is) we cannot be surprised that enthusiastic amateurs should +in the present day give such large prices for the splendid productions +of the great Cremona Makers. + +MARIANI, ANTONIO, Pesaro, 1570 to 1620. An imitator of Gaspar di Salo. + +MARATTI, ---- Verona, 1690. Made good toned violins, but the +workmanship has little character. + +MARQUIS DE LAIR, ---- A French maker about 1800. + +MARSHALL, JOHN, London, 1760. + +MARTIN, ---- London, 1790. + +MAUCOTEL, CHARLES, London. An excellent workman, who has produced some +beautiful instruments. + +MAUSIELL, LEONARD, Nuremburg, 1725. A capital imitator of Steiner, +whose style he followed so closely as to render it (as it is stated) +difficult to distinguish the one from the other. This is one of the +makers praised by Spohr in his "Violin School," as worthy attention +when a good Cremona cannot be got. + +MAYRHOF, ANDREA FERDINAND, Salzburg, 1740. + +MEDARD, HENRY, Paris and Nancy. A French maker, who is generally +considered to have been a pupil of Nicholas Amati, and was esteemed +nearly equal to his master; but Fetis includes him in his list of the +personal pupils of Antonius Stradiuarius. + +MERLIN, JOSEPH, London, about 1780. A very ingenious person, who +obtained the honour of being mentioned in Madame D'Arblay's "Diary and +Letters." His violins were after the Steiner pattern, and well made, +but did not approach the Steiner tone. + +MEUSIDLER, JEAN, Nuremberg, about 1540. A maker of viols, viols da +gamba, &c. + +MEZZADIE, ALEXANDER, Ferrara, about 1700. A good maker who followed the +Amati style, and is reckoned by Fetis as one of that school. + +MIER, ---- London, 1786. + +MILANI, FRANCISCO, Milan, is supposed to be a pupil of Guadagnini and +followed his style,--about 1760. + +MILLER, ---- London, about 1750. + +MOHR, PHILIP, Hamburg, 1650. + +MONTADE, GREGORIO, Cremona, 1735. Considered to be a pupil of +Stradiuarius, but more probably an imitator. + +MONTAGNANA, DOMINICO, Venezia, 1725. This excellent artiste made +instruments generally of a large size, and used wood of a large and +beautiful figure. The varnish exceedingly brilliant and of a rich +yellow or yellow red colour, and the tone everything that can be +desired. Mr. Perkins had a violoncello of this make, which was +originally sold as a Joseph Guarnerius, and was said in the catalogue +to be uncommonly fine and handsome. This is another of those careful +artistes, whose productions are now in high esteem when one of the +three great masters cannot be obtained, and which will very probably +hereafter rank with them and become very famous. + +MORRISON, JOHN, London, 1780 to 1819. + +MORELLA, MORGLATO, Mantua, about 1550. Famous for rebecs, viols, and +viols da gamba. + + +N. + +NAMY, ---- Paris, about 1800. + +NAYLOR, ISAAC, Leeds, 1788. + +NEWTON, ISAAC, 1780. + +NICHOLAS, ---- Geneva, 1790. + +NIGGEL, SYMPERTUS, Paris, about 1650. + +NORMAN, BARAK, London, 1690 to 1740. He generally used a monogram +formed of the letters NB. interlaced. This artiste has long been a +favourite, and he certainly made some good instruments, which in the +present day are depreciated below their real worth, as is the case also +with other English makers, whose productions have had to give way +before the prevailing preference for Italian instruments. He was +partner at one time with Nathaniel Cross, and the instruments then made +bear their joint names on the labels. + +NORRIS AND BARNES, pupils of Thomas Smith, 1785 to 1818. + +NOVELLO, VALENTINO, Venezia, about the middle of 18th Century. + +NOVELLO, MARCO ANTONIO, Venezia, same date. Both these makers are in +good esteem. + + +O. + +OBUE, BARTOLOMEO, Verona. + +ODOARDI, GUISEPPE, early 18th Century. + +OTT, JEAN, Nuremberg. Lute maker, 15th Century. + +OTTO, JACOB AUGUSTUS, born at Gotha, 1762, died 1830. Author of the +celebrated Book on the Construction of the Violin. He made some good +instruments which, in his book he says he "proved" by a machine which +played them in thirds, fourths, and fifths for a continued period, thus +mellowing and perfecting the tone. We do not believe in this doctrine. +From all past experience, there can be no doubt that whatever pains or +trouble a maker may take to bring his instruments, while new, to bear +the character of old, his labour is quite useless. There is no instance +of an instrument becoming famous for its fine tone till it had attained +a good old age. Some modern makers use chemical means to mature their +violins; but this process is utterly destructive to them, as they +become quite rotten through the action of the acid after a lapse of +years. Time alone can ripen and mellow all musical instruments made of +wood, the violin and the organ especially. + + +P. + +PANORMO, VINCENZIO, born near Palermo, 1734. He appears to have left +his native place, and after a temporary sojourn in several towns came +to England about 1772, and died in 1813. He was an excellent artiste. +His instruments are carefully constructed on Cremona models, and +possess a fine tone. He made a few violoncellos which are highly +prized, their tone being extremely rich and powerful. They are of the +Stradiuarius pattern, mostly of handsome maple for the back and ribs. +All his instruments are of a good Italian quality of tone, and are +among those which are rising in value as the great masters become rarer +and dearer. + +PANORMO, JOSEPH, son of Vincenzio, also a good workman. + +PANORMO, GEORGE LEWIS, another son of Vincenzio, a celebrated bow +maker. + +PANORMO, Edward. + +PANORMO, GEORGE, probably grandson of Vincenzio. + +PAMPHILON, EDWARD, London, 1685. A very clever artiste. Made violins of +rather small model, somewhat high built, rich yellow varnish, and +sometimes double purfled. The Editor has known one of his instruments, +which was in the hands of a rich amateur, in whose house he has heard +it played and very much approved. + +PANSANI, ANTONIO, Rome, 1785. + +PARKER, DANIEL, London, 1714, is considered one of the good old English +makers. His instruments have a clear and powerful tone. A first-rate +authority calls him an excellent workman; another says though he was +otherwise good he used a bad brick red varnish. + +PASTA, GAETANO, Brescia, early in 18th Century. + +PASTA, DOMINICO, Brescia, same date. Said to have followed the Amati +patterns, and deserted the Brescian standard of Gaspar di Salo and +Maggini. + +PEARCE, JAMES and THOMAS, London, 1780. + +PEMBERTON, J., London, 1580. An English maker of considerable talent. +Is supposed to have been the maker of the instrument presented by Queen +Elizabeth to the Earl of Leicester. + +PFRETZSCHNER, GOTTLOB, Cremona, 1749. + +PFRETZSCHNER, CARL FREDERICK, Cremona. + +PICHOL, ---- Paris. + +PIQUE, ---- Paris. An excellent maker, and the master of Lupot. Spohr +recommends Pique's instruments, and Dubourg says they were given as +prizes by the French Conservatoire in the beginning of the present +Century. + +PIERRAY, or PIERRET, CLAUDE, Paris. A charming workman. His violins +have been frequently mistaken for Italian by inexperienced judges. They +are of a deep red colour and finely finished, with an excellent quality +of tone. + +PIETE, NOEL, Paris, about 1785, pupil of Saunier. An artiste well +spoken of. + +PLACK, FRANCIS, Schoenback, 1738. Considered a good maker. + +POLLUSHA, ANTONIO, Rome, 1751. + +PONS, ---- Grenoble, France, 1787. Made large pattern violins with high +model, which have no great value. + +POSSEN, LAUXMIN, Bavaria, about 1540. Made rebecs, viols, and viols da +gamba. + +POWELL, ROYAL and THOMAS, London, 1785. + +PRESTON, JOHN, York, 1789. + + +R. + +RACCERIS, ---- Mantua, 1670, believed to have been a partner with one +of the Gaglianos, and made similar instruments. + +RAF, ---- Bavaria. + +RAMBEAUX, ---- Paris, a pupil of Gand, and an excellent workman. + +RAPHAEL, NELLA, Brescia, 18th Century. This artiste was of the school +of Maggini, and his instruments are said to have the scrolls +sculptured, and to have inscriptions on the sides. + +RAUCH, JAQUES, Mannheim, 1730 to 1740. Considered to be a very good +maker. + +RAUCH, SEBASTIAN, 1742 to 1763. + +RAUCH, ---- Breslau. + +RAUCH, ---- Wurtzburg. + +Otto praises the instruments of the two brothers of Breslau and +Wurtzburg. He says they are excellent violins but have a shape and +model peculiar to themselves and entirely different to the Italian or +Steiners, but possess when uninjured a full, round and powerful tone. +If Otto had told us what instruments were like instead of what they +were not like, his book would have been more valuable. + +RAUT, JEAN, Bretagne. He was at Rennes till 1790. Made good instruments +after the Guarnerius school. + +RAYMAN, JACOB, London, 1641. The instruments of this maker were very +highly valued formerly. He is considered one of our best old English +artistes. + +REICHEL, JOHANN GOTTFRIED, Absom. An imitator of Steiner. + +REICHEL, JOHANN CONRAD, Neukirch, 1779. + +REISS, ---- Bamburg. A capital imitator of Steiner, and made excellent +instruments. + +REMY, ---- Paris. + +RENISTO, ---- Cremona, 1740, pupil of Carlo Bergonzi. His instruments +are very similar to those of his master, but rather higher modelled, +and the workmanship somewhat rougher. + +RETANTINO, ---- No particulars of this maker. + +RIMBOUTS, PETER, Amsterdam. + +ROOK, JOSEPH, London, 1777 to 1852. A good workman, who imitated +Forster. + +ROSS, JOHN, 1562. An early maker of lutes. + +ROTH, CHRISTIAN, Augsburg, 1675. + +ROVELIN, ---- 18th Century. + +RUDGER, ---- Cremona--not one of the Ruggeri Family. Made some good +instruments of the high build, and deep sides, and used fine varnish. + +RUGGERI, FRANCISCO, Cremona, 1640 to 1684. This celebrated maker is +considered to have been a pupil of Antonius Amati, and made many +excellent instruments which bear a high reputation. They rank next to +the Amati. Their quality is similar, and the style of work is easily +seen to belong to the same class. There are a few violins by this maker +of the same pattern as the Grand Amatis, which are said to surpass the +latter, having more wood in them, which was detrimental when they were +made, but which age has mellowed, and they now possess a strong and +free vibration. Many of the Ruggeris have varnish little inferior to +that of Stradiuarius and Guarnerius. This artiste ranks highest in the +family in the estimation of the connoisseur. His work is extremely +clean. The next is Giovanni Baptista, rather higher built and sound +holes rather broader. The scrolls are larger than those of Amati but of +the same type, There are many splendid violoncellos of these makers and +a few tenors. Some of the former are very large. Francisco Ruggeri is +mentioned by Spohr in his list of instruments to be sought for in the +absence of the three great makers, Nicholas Amati, Antonio Stradiuarius +and Joseph Guarnerius. + +RUGGERI, GUIDO, Cremona, 1679. + +RUGGERI, GIOVANNI BAPTISTA, son of Francisco. Brescia, 1690. Mentioned +above. + +RUGGERI, PIETRO GIACOMO. Brescia 1700 to 1720. The celebrated +violoncellist Piatti plays on an instrument by this maker, and the tone +is uncommonly fine and sonorous as all who have heard him know. + +RUGGERI, VINCENZIO, Cremona, 1700 to 1730. + +RUPPERT, FRANCIS, Erfruth, made some excellent instruments of a very +flat model, but generally omitted the linings and corner blocks as well +us the purfling. They are nevertheless esteemed in Germany. They have a +dark brown amber varnish. + + +S. + +SAINT, PAUL. Paris, about 1650. An excellent French maker. + +SALO, GASPAR DI, Brescia, dates from 1560 to 1610. This celebrated +artiste was the contemporary of the ancient Amatis, and is thought by +some connoisseurs to have been the master of Andrew. However that may +be, as there can be no certainty of the fact, the varnish on which the +great Cremonese makers established that notable reputation which +distinguishes them to the present day, bears a strong analogy to that +of Gaspar di Salo, however they may have derived it. In this respect, +also, Gaspar excels Maggini, his pupil and follower, who was evidently +not initiated into the secret of making that excellent varnish which +characterises his master. + +The pattern of the instruments which the two early and famous chiefs of +the Cremonese and Brescian Schools built, is however totally different. +Those of Gaspar are large, massive, double purfled, and with large +sound holes. Andrew is noted for a small pattern, and if he studied in +the Brescian workshop, he discarded the style he found there (varnish +excepted) and aimed at altogether a different object in his own +productions. Those of Gaspar di Salo are constructed with capacity and +strength to produce a considerable volume of tone. The Cremonese +Artiste on the other hand, made instruments which, both in their +proportions and adjustment, were especially adapted for the production +of a sweet but not powerful tone. Gaspar's instruments seem to +foreshadow in their tone and power, those of Stradiuarius and Joseph +Guarnerius, while the Amatis seem generally to have been contented with +producing a tone of surpassing sweetness. Gaspar also succeeded in +giving to his productions that fine tone which seems to have been +especially aimed at by the early makers, but as he also from the size +and strength of his instruments, produced more tone, he may be +considered far the superior of Andrew, the first of the Amatis. It is +on this account that in the present day, Gaspar di Salo is esteemed as +the greatest maker of his time, and connoisseurs value his instruments +accordingly. + +There are not many violins by this great master, but of tenors and +double basses more. These are very fine and rich in tone. He was not +however famous for giving so very high a finish to his works as was +afterwards attained at Cremona. His violins are described as rather +long, and with a gentle elevation from the sides to the centre. The +sound holes straight and large, well cut and parallel, and double +purfling. The varnish is generally of a rich brown. These are the chief +external characteristics, but they have always possessed that "which +passeth show," and commanded the esteem of the dilettanti in that rich +quality of tone which is the first essential in a perfect instrument. + +Signor Dragonetti, the greatest double bass player of our day, used one +of Gaspar's instruments, which was presented to him on account of their +admiration of his wonderful talent, by the order of the Convent of St. +Mark at Venice. Shortly before his death the Duke of Leinster offered +him L700 for it, a princely sum, but it was refused, as Dragonetti did +not feel justified in parting with it, and he ordered in his will that +it should be returned to the convent at Venice, which was accordingly +done. Ole Bull has a very celebrated violin of Gaspar's make. In the +first place, it was sculptured with Caryatides, by the great Florentine +artist, Benvenuto Cellini, at the special command of another eminent +person, Cardinal Aldobrandini, who presented it to the museum of +Inspruck in the Tyrol. In 1809 that city was assaulted by the French, +the museum was plundered, and this violin carried to Vienna, where it +became the property of another notable person, the Councillor Rehazek, +who was famous for his collection of ancient musical instruments. He +left it by will to another still more celebrated person, Ole Bull, the +distinguished Norwegian violinist, by whom it was exhibited in London +in 1862, and with whom it still remains. To our description of Gaspar's +instruments we should add that his tenors and double basses are of a +rather broader form than his violins. + +SALLE, ---- Paris, 1800. This artiste was an excellent workman, and +famous also as a judge of old instruments. + +SANONI, GIOVANNI BAPTISTA, Verona. + +SANTI, GIOVANNI, Naples, 1730. + +SANCTUS SERAPHINO, Venezia, about 1730. An excellent workman, whose +instruments possess almost the beautiful finish of Stradiuarius. He +used handsome wood of small figure, and his varnish is often beautiful +in the extreme. The model however approaches that of the Steiner +school, and the tone is therefore generally wanting in fullness and +roundness. He made also a few violoncellos with similar +characteristics. + +SAPINO, ---- Cremona. Pupil of Guiseppe Cappa, made instruments after +the style of the Amati. + +SANZO SANTINO, ---- Milan. + +SAUNIER, ---- born in Lorraine 1740. An excellent artiste whose +instruments are reckoned among the best of the French school. + +SCHEINLEIN, MATTHIAS FREDERICK, Langenfeld, born 1710, died 1771. + +SCHEINLEIN, JEAN MICHAEL, Langenfeld, born 1751. Made instruments which +are said to be good but not strongly built. + +SCHMIDT, ---- Cassel, mentioned by Otto as living in 1817, and praised +by him as an excellent maker. His instruments are of the flat model of +Stradiuarius but have the edges larger and the purfling further from +the sides. + +SCHONGER, FRANCIS, Erfurth, made high modelled instruments, but of poor +tone. + +SCHONGER, GEORGE, Erfurth, son of the above, modelled his instruments +in the Italian style and produced some very superior examples. + +SCHORN, JACOB, Salzbourg. + +SCHORN, JOHANN, Inspruck, 1688. + +SCHOTT, MARTIN, Prague. + +SHAW, ---- London, 1656. + +SIMPSON, JOHN, London, 1790. + +SIMPSON, J. and J., son of the above. + +SIMON, ---- Salzbourg, 1722. + +SIMON, ---- Paris. + +SMITH, HENRY, London, 1629. This may be a celebrated maker of viols, +&c., mentioned by Mace, 1676, as one of the best then known. + +SMITH, THOMAS, London, 1756 to 1799. This well known maker was a pupil +of Peter Wamsley. His violoncellos are of the Steiner model, and some +of them possess considerable power, and were formerly highly esteemed, +but they are now considered to be deficient in quality and wanting in +the rich fine tone of the Italian artistes. Notwithstanding, they are +still favourites in the country; the editor knows two of his +violoncellos which have been respectively sold for L30 and L40 within a +few years. + +SMITH, WILLIAM, London, 1771. + +SOLOMON, ---- pupil of Bocquay, a good French artiste. + +SPEILER, ---- 18th Century. + +STADELMANS, DANIEL, 1744, Vienna. + +STADELMANS, JOHANN JOSEPH, Vienna, 1784. Fame speaks very highly of +this maker, who closely imitated Jacob Steiner and ranks next to him +among the German makers. + +STEINER, JACOB, of Absom in the Tyrol, born about 1620, date of death +not known, but at about the age of seventy retired to a Convent. + + See separate chapter on this celebrated artiste. + +STOSS, FRANCIS, Bavaria. + +STORIONI, LORENZO, Cremona, living in 1782, said to be the last of the +great Cremona makers. Forster says his instruments resemble those of +Joseph Guarnerius, and that Vieuxtemps' solo violin in 1861, was by +this master, and was very much admired. His violoncellos are very +powerful. The author knows a violin which an authority says is by +Storioni, but which the owner considered to be by Antonius and +Hieronymus Amati. The same authority says there are only two in England +of this make. It possesses a splendid fine full and rich tone, +beautiful wood for the belly, but the back rather plain, varnish deep +yellow with reddish tinge. Workmanship not very fine. We mention those +little known artistes' instruments when we have seen them, because they +are now rising in value and are esteemed as likely to afford good +instruments to those who cannot afford those of the three great +masters. + +STRADIUARIUS, ANTONIUS, Cremona, born 1644, died 1737. + + See separate chapter for a fuller account of this celebrated + artiste. + +STRADIUARIUS, HOMOBONO, Cremona, son of Antonius; made instruments +under the direction of his father, which were signed "_Sub disciplina +A. Stradiuarius._" + +STRADIUARIUS, FRANCISCO, Cremona, another son of Antonius, and signed +in the same manner as his brother. + +STRAUBE, ---- Berlin, 1770. Constructed after the Italian model. His +instruments are scarce and good. + +STRNAD, GASPAR, Prague, 1781 to 1793. This maker bears a good +reputation. + +STURIONUS, LAURENTIUS. See Storioni. + +SURSANO, SPIRITUS, Coni, 1764. + + +T. + +TAYLOR, ---- London, 1770 to 1820. + +TECHLER, DAVID, first established himself at Salzburg, and afterwards +went to Venice, where the story goes that he was so persecuted by other +makers that he fled to Rome, about 1706. He made some excellent and +beautiful instruments. They have fine yellow varnish and resemble those +of the Tyrolean school of Albani and others. Lindley had a violoncello +by this maker which was very fine, and powerful in tone. Another was +sold a few years ago by auction, for L50. We have seen a violin of this +maker, with very beautiful wood and highly finished workmanship, the +tone of which was very pure and polished. + +TENZEL, ---- One of our catalogues contains a violin by this maker, but +we have no particulars. + +TEODITI, JEROME, Rome, 1750. + +TESTATOR, IL VECCHIO, Milan, about 1520. A claim has been made for +this maker that he was the first to give the name of violino to the +reduced viol. + +TERRESIO, ---- An Italian who died in 1853, was a most eminent judge of +instruments. His whole existence seemed to be centered in his art, and +his eye became so practised that when travelling to discover old +instruments, he took them all to pieces, sides, backs, heads, and all +parts, forming a conglomerate mass of pieces of valuable violins. The +object of so doing was to avoid the customs' dues which are of course +heavy on old instruments. When he reached his destination, he would +replace them without the aid of a single mark. After his death his +house, or rather his hermitage, was visited by connoisseurs, who found +it strewed with different parts of instruments, some being found in the +most out of the way places. He had the major part of all the great +instruments through his hands. Among other valuable instruments found +in his house after his death, was a Gaspar di Salo double bass and a +Bergonzi double bass--the latter unique. Both these instruments are now +in Mr. Hart's possession. The Gaspar di Salo is very perfect and its +tone is unsurpassed. The Bergonzi is quite a curiosity, from its being +the only one of his make known. He visited this country during the +Exhibition of 1851, and was deeply gratified upon seeing so many high +class instruments among the dilettanti here, and the taste and zest the +English have in forming collections. + +TESTORE, CARLO GUISEPPE, Cremona, about 1700. This artiste made some +very good instruments after the Guarnerius pattern. The wood of the +backs of his violoncellos is mostly pear tree, and the bellies are of +splendid wood. The tone is very powerful, but not always so smooth as +might be wished. This is another rising name. The celebrated double +bass player Bottesini, uses one of this maker's instruments which +possesses a splendid tone, and is sufficient to stamp Testore as an +excellent maker. If any of his smaller instruments possess as good and +fine a tone as this double bass he must be ranked among the best +Italian artistes. Use will probably wear away the want of smoothness at +present complained of in some of them. + +TESTORE, CARLO ANTONIO, Milan, about 1710 to 1730. + +TESTORE, PAOLO ANTONIO, Milan, about 1720 to 1740. Both the above have +the reputation of being good makers. Of these artistes we have a note +which states that their model was flat, resembling Joseph Guarnerius in +shape, but the varnish very inferior and void of colour. + +THOROWGOOD. HENRY, London, the 18th Century. + +TOBIN, ---- London, 1800 to 1836. This maker cut most beautiful heads, +and his work was neatness in the extreme, so much so indeed as to rob +it of decided character. + +TONINI, FELICE, Bologna. + +TONINI, ANTONIO, Bologna. + +TONINI, CARLO, Bologna. + +TONINI, GUIDO, Bologna. + +We have no special information on these makers, but they are generally +ranked among the good Italian makers. + +TONONI, CARLO, Venezia, 1699 + +TONONI, GIOVANNI, Venezia, 1699. The instruments by Tononi are worthy +of the highest praise. They are however very scarce. They are of the +large pattern, and flat model, with good varnish, and everything about +them, including a superior tone, to entitle them to be ranked as +excellent instruments. + +TORING, ---- London. + +TRUNCO, ---- Cremona, 1660. + + +U. + +URQUART, THOMAS, London, 1650. An excellent old English maker. He used +beautiful varnish (for English) and made many small violins which are +useful to young players, being old and the price reasonable. + + +V. + +VALLER, ---- Marseilles, 1683. + +VERON, ---- Paris, about 1725. Highly esteemed in France. + +VIARD, NICHOLAS, Versailles, about 1730. + +VIBRECHT, GYSBERT, Amsterdam, 1707. + +VIMERCATI, PAULO, Venezia, 1700. + +VOGEL, WOLFGANG, Nuremberg. + +VUILLAUME, JEAN, 1700 to 1740. Worked with Straduarius, and made some +good instruments under his own name. + +VUILLAUME, JEAN BAPTISTE, Paris. Now living. Famous for his copies of +Cremonese instruments. This artiste obtained by personal researches in +Cremona the particulars of the life of Stradiuarius, which Fetis has +embodied in his book. + + +W. + +WAGNER, JOSEPH, Constance, 1733. + +WAMSLEY, PETER, London, 1727. A celebrated artiste, who made many +excellent instruments. Those with the dark brown varnish are the most +valuable. They were mostly of the Steiner patterns. Mr. J. Rodgers, +organist of Doncaster Parish Church, has a very beautiful tenor by this +maker, which is built in the shape of a double bass, and with very +peculiar sound holes instead of the usual S S. + +WEAVER, SAMUEL, London. + +WEISS, JACOB, Salzburg, 1761. + +WENGER, GREGORIO FERDINAND, Salzburg, 1761. + +WEYMANN, CORNELIUS, Amsterdam, 1682. + +WIGHTMAN, GEORGE, 1761. + +WITHALM, LEOPOLD, Nuremberg, 1765 to 1788. Otto says this maker's +instruments are worthy the attention of the virtuoso, and are extremely +like those of Steiner, and difficult to distinguish from them. + +WISE, CHRISTOPHER, London, 1656. + +WORNUM, ---- London, 1794. + +WRIGHT, DANIEL, London, 1745. + + +Y. + +YOUNGE, JOHN, London, 1724. + + +Z. + +ZANETTO, PEREGRINO, Brescia, about 1540. A maker of rebecs, violas, and +viols da gamba. + +ZANTI, ALESSANDRO, Mantua, about 1770. Reckoned among the good Italian +makers. + + + + +BOW MAKERS. + + +It will not be considered out of place in the course of a biographical +account of the principal makers of violins, to give a short notice of +some eminent persons without whose labours, the violin itself would +never have been developed as it has been, to wit, violin bow makers. +Much of the elegant finish and refinement of tone and style which +distinguish the great players of the violin, if not due altogether to +the bow, by which the tone is produced, is at all events greatly aided +by it. A Paganini will have a Tourte bow, and so will every other great +master, if he can get one. There must be something therefore in the +bow, as well as in the violin, more than meets the eye of a casual +observer. We have not here space to enter into the subtle niceties +which distinguish the bows of Tourte of France, of Dodd of England, and +others. Suffice it to say that whoever boasts of an excellent violin +should match it with a superior bow. One is incomplete without the +other. There are many excellent makers, but we must content ourselves +with briefly noticing the most prominent. Suffice it to say in the way +of advice and warning that whether the amateur buy an old or a new bow, +let him see that its flexibility, which is its great merit, is perfect, +and that it is still strong though light and straight. Mr. Bishop in +his edition of Otto says the finest bows are those of Vuillaume! He +does not even mention any others. Tourte and Dodd do not deem to be +worthy his remembrance! There must be nevertheless something in the +bows of these makers which commands great respect, for any performer of +skill will give (if he can get one, that is the difficulty,) ten or +twelve times the amount for a perfect Tourte, which will buy a +Vuillaume! There is no doubt that Vuillaume manufactures good bows--but +to rank them highest is so palpable a misrepresentation that we have +thought it necessary to enter a protest against it. + +TOURTE, FRANCIS, Paris, born 1747, died 1835. This is conceded, by all +the best judges, to be the greatest maker we have ever known, in fact +the Stradiuarius of the bow. His father and grandfather were +instrumental in improving the bow, but Francis Tourte brought it to the +greatest perfection. His bows are light and flexible, yet straight. +They are highly finished and made of the finest Brazil wood. He himself +sold his bows mounted with gold, at 12 louis, (L11 4s. 6d.) each; with +silver 3-1/2 louis (L3 5s. 6d.) It is said the reason of his charging +so much was that he found so great a difficulty in getting wood fine +enough to satisfy his critical judgment, and that he also made no +scruple to break any which did not reach his standard of perfection; he +was therefore compelled to charge those sums for such as he permitted +to go forth. Whoever wishes to match his cherished Cremona with an +equally fine bow will get a Tourte if he can. + +LUPOT, of Paris, was another excellent maker. His bows are not quite so +light as those of Tourte, but they are in all other respects highly +esteemed. + +DODD, EDWARD, born at Sheffield, and died in London, at the age of 105 +years, in 1810, was distinguished as an improver of the bow in England, +about the same time that the Tourtes were founding their great +reputation in France. The great maker of this name, however, and who +has achieved the honourable title of the Tourte of England, is + +DODD, JOHN, the son of Edward. The best bows of this maker are highly +esteemed, and partake of all the excellencies of those of Tourte. Some +of them, however, are rather short, which is perhaps their only defect. + +After these come the bows of Panormo, Pecatte, Tubbs, Vuillaume, and +other English and Foreign artistes, whose best bows are much esteemed. + +As between old and new bows, we would observe that in general modern +bows are nearly us useless as new violins. The wood of which most of +them are made is very inferior to that of the older artistes, and there +is always a doubt whether they will stand continued use and remain +straight and flexible. With an old bow, if it is straight, there is no +fear, with ordinary care, of its remaining so. A good bow is as +important as a good violin. + + + + +THE GREAT CREMONA MAKERS. + + + + +THE AMATI FAMILY. + + +Cremona! Who has not heard of this now celebrated Italian city? And yet +but for a fiddle maker it is very probable indeed that it would never +have been known beyond the circle of its own local interests and its +relations with neighbouring cities. Now, however, its name is a spell +to conjure with. A Cremona Violin is, to a rich amateur, a loadstone +that is sure to attract the shining metal from the depths of his purse. +Seven hundred pounds have been given for a Guarnerius Violin! Think of +that ye dilettanti who are so proud of your pictures and marbles! Even +the poor fiddler has his Mecca far away, and it is called Cremona. Like +pictures, the Cremona Violins are real works of art, and like them +also, were once to be had for trifling sums. Cuyps and Paul Potters, +Stradiuarii and Guarnerii were once to be had for three or four pounds +each that are now worth as many hundreds. A Cremona instrument has even +been considered a worthy gift to pass between crowned heads, Pope Pius +V. having presented a violoncello by Andreas Amati to Charles IX. of +France. Fleeting however are the honours of time! Cremona has lost its +most famous names from among its citizens, and with them its most +distinguished characteristic. For nearly a hundred years no maker of +great skill has arisen to dispute the glory of the place with the +Amati, Stradiuarius, and Guarnerius, by whom the fame of Cremona will +be carried to the latest generations. + +It is now about three centuries since there flourished at Cremona its +first great violin maker. Andreas Amati appears to have been born there +in 1520, and died in 1580. The family was an ancient one, and is +mentioned as early as 1097 in the records of the city. It is a +remarkable fact, and shows in a strong light the difference of manners +and customs in different countries that both Amati and Stradiuarius +seem to have been of ancient and honourable families, and yet +notwithstanding their adopting an avocation which would in England be +thought to tarnish an old family name, they lived and died respected +and honoured by their fellow citizens. There is no account of how or of +whom Andrew Amati acquired the art of violin making; but it is clear +that by some means he had attained to a considerable amount of skill. +Under the head of Gaspar di Salo, we have however hazarded a conjecture +that he had been to Brescia for the first principles of the art, but +that he had adopted little that he found there except the varnish and +the general routine of the workshop. Some of his instruments are +described as beautifully made, and to have amber varnish of excellent +quality of a deep rich yellow tinted with brown or light red colour. +His violins appear to have been chiefly of the small pattern and high +model. The backs are mostly cut the reverse way of the grain to the +present rule, forming what are now termed "slab" backs. They possess a +delicate graceful tone of wonderful sweetness, which has also been more +or less the chief characteristic of the other makers of this family. +With reference to this peculiarity, an eminent writer observes that in +the times in which the Amati lived, the tone was not required to be of +that powerful character which modern players demand, and that such an +immense tone as many later instruments possess would not then have been +tolerated. This is very probable, and may account also for the elevated +model which was adopted both by Andrew and some others of the Amati. +This model conjoined with their beautiful workmanship and generally +small size, combined to produce that elegant delicious sweet tone which +of all other makers, the Amatis especially possess. They also, all of +them, made a greater number of instruments of the smaller size than +what is known as the grand pattern, no doubt because the tone produced +by them was found generally sufficient. They were also made to carry a +much lower bridge and a lighter bass bar than are now used, and the +proportions were arranged accordingly. On this point M. Maugin, author +of a Treatise, entitled Manuel du Luthier, makes some remarks which we +have translated as pertinent and valuable. Speaking on the subject of +repairing old instruments, he says, "There is no violin maker now, who +does not put, whether in the instruments he has to repair, or in those +which he makes, a much stronger bar than those which were employed by +the great makers themselves. They must have felt the necessity of doing +this or they would not all act in this way. Now what is the reason of +this mode of working? I have seen in the hands of rich amateurs, +several instruments which have been preserved with a religious care, +absolutely in the form which Amati and Stradiuarius had given to them. +The bridges of these violins had only an inch and a fraction of height +above the belly, while now-adays bridges have a height of an inch and +(say) three-eighths. Now, the belly being put into vibration by strings +at a great distance from it, and these strings vibrating by themselves +more at the distance of fourteen lines than at twelve, it has been +found necessary to strengthen the bar which, without that, being drawn +into too great a vibration, would give to the strings sol and re a +cottony sound which would have quite spoiled the goodness of the +instrument." M. Maugin does not say why higher bridges are now used, +but there is no doubt on this point. All judges concur that the pitch +having been so greatly raised since the old instruments were built, a +stronger bar has been found necessary, to counterbalance the increased +tension of the higher bridge. + +Andrew Amati gave to his instruments a still more decided swell than +the later members of his family, his successors no doubt finding a +diminution in the rise of the model to produce a fuller if not a +sweeter tone. This principle was gradually carried forward till it +culminated in Antonius Stradiuarius, who brought it to perfection and +demonstrated that the flat model produced the greatest vibration and +consequently the most powerful tone. Otto in his celebrated work on the +Construction of the Violin, does not mention Andrew Amati, but says +that those of Hieronymus were the oldest Cremona Violins. This is one +of the mistakes in his original work which renders it comparatively +useless. Connoisseurs and collectors have dissipated those errors, and +we now know to a certainty that to Andrew Amati of Cremona, and Gaspar +di Salo of Brescia, (of whom also Otto was ignorant,) we owe the +establishment of these two great schools of violin making. From their +great age, the instruments of these two great makers are now very rare. +They are most of them about three centuries old, and though they appear +to have made a considerable number, they have through the influences of +time and accident gradually disappeared. Some of Andrew Amati's +instruments are still left however in the hands of dilettanti and +collectors, and retain that distinguishing characteristic of delicious +and sympathetic quality which has been the chief charm of all the Amati +productions. Andrew had a brother called NICHOLAS, of whom little +appears to be known. + +After ANDREW, as great makers, come his two sons ANTONIUS and +HIERONYMUS, who flourished from 1550 to 1634. ANTONIUS made many small +pattern violins, which possess in the highest degree the distinguishing +characteristic of the family--a sweet but not powerful tone. He also +constructed some of a larger pattern. ANTONIUS and HIERONYMUS +conjointly built a number of large pattern violins, which are of high +finish and beautiful wood. They are very highly esteemed, and a well +preserved example will command a large price. NICHOLAS was the greatest +artiste of this deservedly celebrated family, and many instruments +still exist to attest the excellence of his workmanship and his +knowledge of the proportions requisite to produce a fine tone. He also +built many small pattern instruments, but he appears to have almost +anticipated Stradiuarius and succeeded in producing some instruments of +the grand pattern which possess a very powerful as well as sweet tone, +and are considered to rival in every respect the famous instruments of +that great master. Some of his violins possess a distinguishing mark in +a rather abrupt rise in the centre. Otto describes it as a "sharp +ridge." It is not exactly so, but is still very different to the +gradual swell on the other Cremona instruments. His best violins, which +are known by the title of Grand Amatis, are those which approximate +closely to the very best instruments of Stradiuarius and Guarnerius. +There can be no doubt therefore, that in these fine specimens of his +skill, he had hit upon the same principles which afterwards guided +those distinguished artistes in the construction of those most renowned +violins which now command the admiration of violinists throughout the +world. + +We have said that the chief characteristic of the Amati violins is a +sweet but not powerful tone. It is necessary to qualify and explain +this remark. From their excellent construction and beautiful wood, +which has evidently been selected with the greatest care for its +resonant quality--their age and long and careful use, their tone is +divested of all extraneous properties, and become fine and pure. +Notwithstanding therefore their original small tone, when fitted with +the modern appliances of larger bars and higher bridges, some have been +found quite competent for all purposes. In 1861 the celebrated +instrument by Antonius Amati, which was presented by George IV. to +Francois Cramer, was sold by auction, and it was stated in the +catalogue that that great performer always led the Ancient and other +concerts on that instrument. The fact no doubt is that it is the fine +and pure quality of tone that tells, arising from age, constant use, +and beautiful woods. They seem to be now divested of all extraneous +characteristics and are become refined and ethereal, and are in fact +the nightingales of the stringed tribe. That the Stradiuarius and +Guarnerius have equal quality combined with more power arising from +their flatter model is undoubted, and therefore they are the most +valued. It is believed that the finest specimen of the skill of +Nicholas Amati is in the possession of Ole Bull. It is of the large +pattern, and possesses a magnificent tone, as many of our readers have +no doubt heard. + +We think we shall please our readers by inserting verbatim the +following excellent description of the Amati instruments, furnished to +us by an able and experienced connoisseur. He says:-- + +"NICHOLAS AMATI and the BROTHERS AMATI. The tone is with few exceptions +sweet in quality and seldom powerful, but admirably suited to the +amateur. The workmanship is of the highest order, which conduces to +this result. The wood must have been selected with great judgment. The +bellies are nearly always of a fine reedy nature. Sometimes the backs +are whole backs (in one piece), at others in two, more often the +latter. The varnish of a beautiful amber colour, and there are a few +instances of fine red. The sides generally rather shallow, heads of +exquisite form and well defined. The care bestowed upon them alone +bespeaks the hand of the artist. There are several magnificent tenors +and violoncellos, and perhaps three or four double basses. The tenors +are sometimes seen of large size. The Amati family made several sets of +instruments for foreign courts, which bear their particular arms, +mostly beautifully painted on the backs. The violins known as Grand +Amatis are the best, and were made by Nicholas Amati. They take their +name from their size. He also made many long pattern instruments, and +also several three quarter violins, which have conferred a great boon +upon juvenile violinists who are able to purchase them, by giving them +an opportunity of early becoming familiar with the irreproachable +Italian quality of tone." + +In reference to the remark made in the preceding paragraph, it is +recorded that a set of instruments, no doubt one of those therein +alluded to, was made for Charles 9th of France by Andrew Amati, +consisting of twenty-four violins, six violas, and eight basses. These +were lost from Versailles in 1790, and have not been recovered, except +two which M. Cartier discovered some years since. Notwithstanding that +Andrew Amati was the first maker of any note, except Gaspar di Salo of +Brescia, it is clear that he had attained an astonishing amount of +skill, as there is an account of a violoncello which was offered by +auction at the sale of the celebrated Sir Wm. Curtis's instruments by +Mr. Musgrave, who in the catalogue stated that "a document was given to +the proprietor when he purchased this instrument, stating that it was +presented by Pope Pius 5th to Charles 9th of France for his chapel. It +has been richly painted, the arms of France being on the back, and the +motto 'Pietate et Justitia' on the sides. The tone of this violoncello +is of extraordinary power and richness." Mr. Forster supposes this to +have been one of the instruments mentioned before, but that would +destroy the value of the document given to Sir William, because if +Andrew Amati made it for Pope Pius 5th, who presented it to Charles 9th +it could not have been one of those made by him expressly for that +monarch. It is clear however that the tone was both grand and fine, and +therefore the first of the Amatis must have attained great ability in +his art. We have before mentioned the celebrated Nicholas Amati violin, +dated 1679, formerly the property of the same distinguished collector, +Sir W. Curtis, and which has since been sold by Mr. Hart to the great +violinist Ole Bull. This is considered the finest specimen of the Amati +skill and was thus described in the catalogue of the sale--"This is +justly considered as one of the most beautiful and finest instruments +in the WHOLE WORLD." The Count de Castelbarco of Milan, possessed a +quartett of instruments by Nicholas Amati, which have since been sold +in London (see the article on Stradiuarius.) M. Fetis describes these +as _admirable_, but as our readers will see, the English connoisseurs +do not appear to have coincided generally with the critic on their +quality, as only one of them produced any great price. There is a +splendid grand Amati in the hands of an amateur in Derbyshire, which +formerly belonged to Mr. Hankey the banker, for whom it was purchased +with others by Viotti, who dedicated several of his compositions to +him. This instrument possesses in an eminent degree the admirable +qualities of the Amati tone, with also considerable power. Another of +the same set in the same hands is a splendid Stradiuarius of the large +pattern with a magnificent tone. There are many fine examples of the +different makers of this celebrated name in this country. English +connoisseurs suffer those of no other nation to excel them in their +collections. + + + + +ANTONIUS STRADIUARIUS. + + +A most interesting account of Antonius Stradiuarius, who is generally +thought to be the greatest maker of the violin--has been published by +M. Fetis, and translated into English by Mr. Bishop of Cheltenham. In +addition to records of his family, which was an ancient one in Cremona, +obtained by M. Vuillaume in his persevering labours in search of +information, and which he placed at the service of M. Fetis--the latter +enters deeply into what we may call the science of violin making, and +presents us with many interesting and valuable experiments which have +been made on fragments of the great instruments, in order to ascertain +the exact principles which enabled Stradiuarius to build with such +undeviating and brilliant success. The book is well worthy the perusal +of all amateurs of the violin. + +ANTONIUS STRADIUARIUS was born in Cremona, in 1644, and died there in +1737, having lived in the peaceful exercise of his art to the great age +of ninety-three. There is a violin still extant which bears his +signature and proves this fact. In the early part of his life, he was a +pupil of Nicholas Amati, and some of his early productions bear his +master's name, as seems to have been the custom. These instruments have +the Amati characteristics, and have some of the backs cut the contrary +way of the grain, forming what are known by the name of "slab" backs. +He afterwards enlarged his model and adopted a flatter pattern, and +arrived at the greatest perfection about 1700. From that period to +1725, everything he made bore the impress of the great master. In +shape, the cutting of the S holes, the varnish, and the accuracy with +which all the parts were adjusted in harmonical relation, from that +time he excelled all who had gone before him, or who have since +attempted the difficult task of vying with him. All these instruments +are of the flat pattern, which is now proved to be best adapted for the +production of a rich, deep and powerful tone. It would appear that the +more elevated model used before his time, although it allowed of very +fine quality of tone, tended to prevent that strong vibration which is +the cause of great tone. M. Fetis insists that the violins of +Stradiuarius were as good and fine in quality of tone when made as they +are now, contrary to the established opinion that time is necessary as +well as use for refining and perfecting all violins. He gives an +instance of a violin made by Stradiuarius, now in Paris, which he +states has never been played upon--but we must beg to doubt this fact. +Though we are ready to admit that the careful adjustment of the +different parts and the selection of fine wood, would tend to perfect +the tone of these instruments, much sooner than others less carefully +fashioned, yet in the instance he brings forward in support of his +theory, it does not appear quite so clear that the violin never had +been played upon. On the contrary, there are many years unaccounted +for, in his description of it, during which it might have undergone +considerable use. It appears almost impossible that while in the hands +of various possessors, so fine an instrument should have been suffered +to lie idle in a cabinet, as though it were a picture to be looked at, +but not touched. From its condition, however, it is clear that it had +always been in hands that prized it, for he describes it as having +quite the appearance of a new instrument. In this respect, therefore, +we must still adopt the opinion of the most eminent judges, including +that recorded by Spohr, that it requires both time and use to perfect +all instruments of the violin class. It would appear moreover that this +has always been a settled belief, for even Mace in his "Music's +Monument," published in 1676, says "We chiefly value old instruments +before new for by experience they are found to be far the best." As to +the condition of this instrument which Fetis states to be quite unique +for its perfection and apparent newness, our countryman, Mr. Gardiner, +in his interesting work, "Music and Friends," says that Mr. Champion, +an amateur had given 300 guineas for a Stradiuarius violin and tenor, +of a beautiful yellow colour inclining to orange, and which appeared to +have been untouched since the day they were made. Here then in this +country is a double instance of the same fact as to condition, for +which M. Fetis claims for the Paris instrument the title of unique. The +fact is that these fine violins have for many years been so highly +appreciated that their possessors have taken the most extraordinary +care to prevent their being damaged or disfigured, and there are many +instances of violins in equally perfect condition. + +After 1725, at which date Stradiuarius was 80 years old, his work lost +some of its characteristic excellence though still of great merit. His +sons, Homobono and Francesco, now assisted him, but he appears still to +have signed them, occasionally adding to their names however, the words +_sub disciplina A. Stradiuarius_. He had many pupils, the chief and the +best of whom was Carlo Bergonzi. There were also Gobetti of Venice, +Guadagnini of Cremona, Michael Angelo Bergonzi, and others mentioned in +the dictionary. Fine examples of the works of his pupils are now +becoming very valuable, and are well worthy attention. + +Stradiuarius made a few instruments inlaid with ebony and ivory round +the edges. There is a quartett of them, all bearing the same date 1687. +One is in the collection of Charles Plowden, Esq.; the other violin +belongs to a gentleman in Staffordshire; the violoncello belongs to the +Queen of Spain, and the tenor was once the property of Sir Wm. Curtis. +This is a very curious and remarkable set of instruments, very highly +finished and in fine preservation. There is also another violin inlaid +which belonged to the late Dr. Camidge of York, bearing date 1713. A. +Fountain, Esq., has in his possession, the last violin which +Stradiuarius made. This instrument is known as the Habenock Violin from +the previous owner's name from whom Mr. Fountain had it. Charles +Plowden, Esq., has a quartett of splendid instruments by Stradiuarius, +of which one violin is of the Grand Pattern, dated 1719; another dated +1711; which are perfect in model and preservation, and both +first-class; the third is a remarkable violin, with rich golden +varnish, dated 1709--a perfect instrument, which has been twice sold +for L600, was formerly the property of Emiliani and is still known by +his name. The fourth violin is the inlaid instrument mentioned above. +Besides these, Mr. Plowden possesses a magnificent violoncello by +Stradiuarius--a remarkable specimen both for beauty and tone; and also, +four violins by Joseph Guarnerius which will be mentioned under the +head of that master. + +There is in Derbyshire a very fine Stradiuarius which was purchased by +Viotti for his friend Mr. Hankey, from whom this and the Amati +mentioned elsewhere went to his brother, a distinguished amateur, who +died some years ago. Wm. Howard, Esq., of Sheffield, has a fine +Stradiuarius violin, of the most beautiful yellow varnish, splendid +wood, fine tone, and perfect condition, which formerly belonged to +Salomon. + +We may also mention here that the late eminent violinist Ernst, played +upon a very fine Stradiuarius Violin which was presented to him by A. +Fountain, Esq., an ardent admirer of that famous player. Joachim also +uses a Stradiuarius. Servais, the great French performer, uses a +Stradiuarius Violoncello, which is said to be the handsomest known, and +which cost him 500 guineas. + +The value of the best productions of the genius of Stradiuarius is now +very great. Mr. Betts, of London, had one for which he refused the +enormous sum of L500, and Dragonetti also refused L800 for a double +bass. The highest price, L600 however was given twice for the violin +now belonging to Mr. Plowden. But even such prices have been exceeded +by that of the celebrated King Joseph Guarnerius mentioned elsewhere, +which realised L700. It must not be understood however that such prices +are the rule, for it is only for extraordinary specimens that any such +great sum can be obtained. Excellent instruments are frequently sold +for much smaller amounts, and it must also be remembered that none but +those made from about 1700 to 1725 realise such enormous sums. His +earlier productions, which resemble those of his master, and which are +known by the name of Stradiuarius Amatis, can be had occasionally for +moderate prices. An undoubted violin of any period of this great +master's make, is well worthy the attention of the virtuoso. They are +all good, but the grand pattern of this wonderful genius, possessing +equal sweetness with greatly increased power, are only now to be had by +connoisseurs of unlimited means. + +As an illustration of the more moderate prices which these fine +productions command, we think it may interest our readers to give here +the result of a public sale of Cremona instruments belonging to the +Count de Castelbarco of Milan, a distinguished amateur. M. Fetis in his +work states that the Count possessed "two quartetts of Stradiuarius, +very remarkable instruments; another of Joseph Guarnerius; a fourth of +Nicholas Amati, and lastly a quartett of Steiner," of which he +specially particularises the Tenor as "being a model of perfection as +to workmanship, and the tone of which is of extreme beauty." These +instruments were sold by auction by Messrs. Puttick and Simpson, on the +26th June, 1862. We quote the report of the "Times," by which it will +be seen that our English connoisseurs did not appreciate them so highly +as M. Fetis. The "Times" did not mention the Guarnerii and the Steiner +at all, we presume because the prices were nothing remarkable. + + LOT. + 1 Violin by Stradiuarius, 1712 L 70 + 2 Violin by Stradiuarius, 1699 L 56 + 5 Tenor Violin by Stradiuarius, 1715 L100 + 6 Violin by Stradiuarius, 1701 L135 + 8 Violin by Stradiuarius, 1685 L135 + 9 Violin by Stradiuarius, 1713 L 90 + 12 Violin by Nicholas Amati 39 gs. + 13 Violin by Andrew Amati 36 gs. + 26 Violoncello, Stradiuarius 1697 L210 + 28 Violoncello, Stradiuarius 1687 L115 + 30 Violoncello, Nicholas Amati 1687 L130 + 31 Original Letter by Stradiuarius L 8 + +At the same sale a Grand Amati Violin, jewelled at the corners, L60; +Violin by Guarnerius, 38 guineas. + +In addition to the above we may mention that the Stradiuarius Violin, +which once belonged to a member of the Medici Family, was sold by +auction a short time ago, at the Hotel de Drouet in Paris, for 5,745f., +about L230, an excellent price for a Parisian connoisseur. We have +already mentioned many fine instruments by Stradiuarius which are in +the hands of connoisseurs and performers. We will now mention a fact +which in the estimation of all true lovers of these fine violins is to +be greatly regretted. It is not the only instance, as probably our +readers are aware that the celebrated Guarnerius Violin of Paganini, is +now locked up in a museum at Genoa. There is at a museum in the city of +Florence, a quartett of beautiful instruments by Stradiuarius, +consisting of two violins, tenor, and violoncello, which were presented +to the institution by an Italian Nobleman, whose ancestors purchased +them from the master himself. These instruments are most beautiful and +in the highest preservation. But of all other curiosities, Cremona +Violins are the most unsuitable for a museum, because they lie there +dead, and are no more than names. The soul of music which is embodied +in them is imprisoned within wood and crystal, and is no more heard of +men. Let no one leave his Cremona to a museum. + +Before closing our account of this great master, it may not be +uninteresting to state in his life time, he appears to have charged +about L4 for a violin, and that he made so many during the course of +his long and industrious career, that his fellow citizens spoke of him +as rich. "As rich as Stradiuarius," was a common remark, as we see by +M. Fetis' notice. Another anecdote is, that Cervetto, an Italian +merchant in London, had a consignment of violins from the master +himself, and as he could not get four pounds each for them he returned +them. This appears strongly to disprove the assertion that his +instruments were as good when made as they are now, especially when we +find that in 1662, L40 was given for two Cremona violins for King +Charles' band, no doubt the elder Amati's, which at that date would be +getting mellowed by time. It is clear that King Charles, or the leader +of his band, knew the value of Cremona instruments, for reckoning the +difference in the value of money at the two periods, L20 then would +purchase L120 worth of goods now. It is therefore extraordinary that if +they were as good new as when they are old, the paltry sum of four +pounds could not be got for them. The real truth no doubt is that +whoever the maker, time must be the refiner, and even genius like that +of Stradiuarius and Guarnerius could not impart that grand, rich, and +mellow tone which distinguishes them without the aid of old Father +Time. + + +THE CREMONA VARNISH. + +Those who desire to make themselves acquainted with the chief +characteristics of the great Cremona makers should take every +opportunity of examining genuine instruments. In addition to the other +external indications we have pointed out, one of the most important, +which is also the most difficult, if not impossible to imitate, is the +varnish, including the colour. None of them seem to have adhered to one +colour only. The present master for instance covered some of his finest +violins with a deep rich yellow, almost approaching to orange. Others +again will be found of a fine red, having something of a most lovely +light cherry tint. Now these colours were mixed by the best makers with +amber varnish of the purest and clearest consistency, and both colours +and varnish are perfectly free from that muddy sort of appearance which +so often disfigures modern instruments. The effect is that of perfect +transparency. You look at a clear perfect rich colour, as it were, +through the purest crystal. This is one of the most certain indications +of a genuine instrument. The moderns unfortunately seem to have lost +the secret of making this lovely transparent clear coloured varnish, +and the consequence is that a connoisseur of ability and experience +never doubts when he sees an instrument whether it be the work of a +great master. It is however supposed that all the genuine productions +of the chief Cremona makers are now known, and we would not therefore +have our readers flatter themselves they can pick up any of them in a +casual way. Vigilant eyes and sharp judgments have long swept over +Europe in search of them. But the advantage is this--that a knowledge +of the best enables the amateur to discern a near approach to it, and +thus distinguish those makers who are not so well known, though, being +the pupils and followers of the great masters, they are well worthy of +his choice. Large diamonds are rare and very dear. A smaller gem must +suffice the amateur of moderate means. + + + + +THE GUARNERIUS FAMILY. + + +This is another glorious name in the annals of Cremona. Many of the +first connoisseurs, now hesitate whether to apply the epithet greatest +to Guarnerius or to Stradiuarius. The palm is therefore divided between +them. Certain it is however that inasmuch as money rules the world, if +we resort to that test, Guarnerius is the brightest gem, for it is +recorded that he has sold for L700 and Stradiuarius for only L600. Most +of the rich connoisseurs therefore desire to possess both. The great +players, to whom money is more an object, divide their affections +between them, and are satisfied with either one or the other, as chance +or opportunity may decide. + +The first of this celebrated family was Andreas, who was born in 1630 +and died about 1695. He appears to have been a pupil of Nicholas Amati, +and shows much of his teacher's careful finish. His instruments are +generally beautifully made, of good and handsome wood, with excellent +varnish, principally of amber colour like that of the Amatis. He also +occasionally, but much more seldom, used red coloured varnish. This +artiste is not famous for producing a great tone in his instruments, +and he is therefore not elevated to the first class, but he made very +good violins which are well worthy the attention of the amateur. We +have seen a very fine specimen in the hands of A. Bright, Esq., of +Sheffield, which was purchased of Mr. Hart, and which is decidedly the +best instrument we have seen of this master. It is remarkably handsome, +of a beautiful yellow colour, the back of one piece with rather small +figure, the ribs similar, the head most carefully and accurately formed +and the belly of fine wood. The tone is also more powerful than +Andrew's violins generally are, and it is altogether a very fine +example of his work. + +GUISEPPE GUARNERIUS is considered to be the son of Andrew, and his +instruments are generally signed as filius Andrae, very probably to +distinguish him from his more celebrated cousin and namesake, who is +besides generally known by the name of Joseph del Gesu. Guiseppe's +instruments are very similar to his cousin's in quality--but less +powerful and probably not so round in tone. They have however, a firm +well defined kind of sound, which is always pleasing both to the player +and the hearer, the former never feeling that the tone will give way +under his bow. There are a great number with "slab" backs. The varnish +is of first quality, and his violins are yearly becoming more valuable +and of greater importance. We have seen a violoncello by this master, +which is very fine. The back, ribs and head of very beautiful small +figured wood. The belly of very fine grained wood, the bate looking +like fine threads of silk stretched at regular intervals the whole +width and length of the instrument, and with an exceedingly rich red +varnish. It possesses also a fine quality of tone, and is dated 1713. + +PIETRO, another son of Andreas, dates from 1690 to 1720. In the latter +part of his life, he appears to have removed from Cremona to Mantua, +his labels bearing date from thence. He was a pupil of his father, but +is said not to have equalled him in careful finish. His instruments, +however, command considerable respect and fetch a good price, a +violoncello of his being recorded to have sold a few years ago for +L120. + +JOSEPH, nephew of Andreas, born in 1683, and died in 1745, is the last +and best of the race of violin makers of this name. He was distinguished +by the title of Joseph del Gesu, through his using on his labels, the +monogram I.H.S., with a cross over or through the H. His career appears +to have been of a very chequered complexion. From all the accounts that +have come down to us, he seems to have been a man of irregular habits +and eccentric genius. In consequence of these peculiarities, his +instruments differ greatly in their characteristics. Neither the model, +the wood, nor the varnish possesses much verisimilitude at different +periods of his career. They are all, however, marked by the stamp of +genius, and give but little trouble to a well informed connoisseur. +Even under the most distressing circumstances, when on some account, he +was confined in prison, and was obliged to be indebted to his gaoler's +daughter for the materials with which he worked, they still bear the +characteristics and originality of a great master. The finish, however, +of those which he made at this period was inferior to the others, being +rather coarse and slovenly, and the work altogether little indicating +externally the signs of that real excellence which they possess. At his +best period, however, his instruments are of rare beauty and merit, and +equal or perhaps excel those of Stradiuarius. The wood he then used was +of fine quality, and the varnish rich and lustrous and very often of +similar lovely tints as those of that master. Many of his instruments +are of rather small pattern, but in his best period, he produced some +of large size and of extraordinary power and grandeur of tone. Among +them was the famous favourite violin of Paganini, the renown of which, +says M. Vuillaume, "was equal to that of its master." This was the +instrument on which, the most celebrated of all violin players the +world ever saw, produced those extraordinary effects which astonished +the whole musical world, and which will never be forgotten by those who +heard them, nor perhaps excelled by any other. These instruments are +however unfortunately very rare, and as rich connoisseurs will have +them if possible, the value of them has come to be very great. We have +elsewhere mentioned the magnificent violin known by the name of the +King Joseph Guarnerius, for which Mr. Hart received the enormous sum of +L700, which is the largest amount ever obtained for a violin on record. +This splendid violin is of large pattern, with beautiful rich orange +yellow varnish and splendid wood. It was imported into this country by +Mr. Hart, and has been in the hands of those enthusiastic and judicious +collectors, Mr. James Goding and Mr. Stewart. Joseph Guarnerius appears +to have endeavoured to produce the grandest tone, combining majesty and +refinement. Many people think he did so without thought or design, but +we think otherwise. In the first place he seems to have fixed on Gaspar +di Salo and Magini as his models, for if a comparison be made we shall +find there are many points which resemble these instruments, for +example, the peculiar shaped sound holes, the manner in which they are +placed and the flat model, all of which tend to produce power, while he +obtained the quality from the wonderful ingenuity he exercised in +leaving the thicknesses of the wood in evidently the correct places, +which was the necessary step in advance. He certainly made many rough +instruments which are ascribed to his imprisonment, and which are now +called the Prison Guarnerii, but the varnish on these even is not +surpassed. He made many of a rich yellow colour, and others of red, the +latter of which are matchless instruments. His heads are not finely +cut, but the character he gave them has never been excelled. + +In the first rank of Joseph Guarnerius instruments we must no doubt +place that belonging to Paganini, which would, if it could be obtained, +command an extraordinary price, and there are also many other noble +productions of his skill extant. The King Joseph Guarnerius we have +before mentioned. Mr. Plowden has four very valuable violins by this +master. One was formerly the property of Mr. Goding, and was esteemed +by him the finest in his collection. Another is quite equal, more +highly finished and has his splendid red varnish. The third was +formerly the property of Ole Bull, and is considered of the finest +model of the master in his more unfinished and larger sized +instruments, dated 1714. The fourth, less well known, but perhaps more +perfect, certainly in tone, 1742. These four instruments are considered +by most of the virtuosi, to be probably the finest examples extant of +this great master. Certainly there are few collectors who can boast of +having so many fine violins as these four by Guarnerius, and the four +by Stradiuarius previously described. Mr. Plowden has always gone on +the principle of getting the very best instruments of each master, and +his taste and judgment are well evidenced in his collection. The late +Earl of Falmouth possessed some very valuable instruments such as the +Kiesewetter Guarnerius and the Jarnovick Guarnerius, so named after +their owners, and also a fine Magini Tenor, all of which were purchased +by Mr. Hart. The late lamented Prince Consort had a very fine tenor by +Joseph Guarnerius, which was highly finished and had belonged to +Dragonetti. There are many other fine specimens of Guarnerius in this +country. English collectors, with that splendid contempt for cost which +distinguishes them, allow no fine instruments to leave the country if +they know it, and the consequence is that in the present day, and for +some time back, England ranks first in the number and value of the +Cremona Violins she possesses. Next comes France, who has some able +connoisseurs; then Russia and Germany. Italy, strange to say, has +suffered them all to leave her, and though the native country of +Stradiuarius and Guarnerius, it is doubtful whether other nations have +not attracted all the finest instruments out of her own possession. The +great rise in the value of these extraordinary instruments is no doubt +due to the fact that they were built very strong in wood, the effect of +which would be to depreciate the tone when they were built, but which, +now time has ameliorated them and the wood has become capable of free +vibration, has refined the quality and increased the tone. Fifty years +ago, a Guarnerius of the best time might have been bought for L50 that +will now command L500. Neither does it appear that they have yet +reached their climax, for they are yearly increasing in value as the +examples we have mentioned clearly show. + + + + +THE GREAT TYROLESE MAKER. + +JACOB STEINER. + + +The time has been when the instruments of this master, whose name is +perhaps yet as widely known as the Cremonese, were very highly esteemed +in England. In Germany it is so yet, and many of the amateurs of that +country flatter themselves that Steiner ranks first in the roll of +famous violin makers. Their celebrated violinist, Spohr, however, in +his remarks on the subject inserted in his Violin School does not +coincide with the opinion of his fellow countrymen to this effect, for +he puts Steiner in the second rank, reserving to the first Nicholas +Amati, Antonius Stradiuarius, and Joseph Guarnerius. In this decision +he also generally expresses the opinion of the travelled professional +violinists of his own country as well as all Europe. But it is well +known that in Germany a well preserved instrument of Steiner's best +period will sell for much more money than any where else. In England +more especially we adopt exactly the reverse valuation. Steiner will +not now command a greater price than many of the pupils of the great +masters, and perhaps to some extent this may arise from the immense +number of spurious instruments bearing his name, which the inferior +Tyrolese makers put forth to the world and palmed on a credulous public +as his genuine instruments. Perhaps no master has been more copied and +imitated, both in Germany and elsewhere. In England the violin makers +in the beginning of the eighteenth century, mostly copied the pattern +and model of Steiner. There must, therefore, be some good and powerful +reason for this general depreciation in value and reputation which +Steiner has suffered. This the candid inquirer readily finds in the +fact that the instruments of Steiner, which were generally constructed +on a high and peculiar model were only calculated for the production of +a thin though sparkling tone, while the Italians aimed, particularly in +the flatter instruments, to obtain a full rich and round tone. This +distinction is apparent even in the older Cremona makers, but if we +compare those of Steiner with those of Nicholas Amati, of Stradiuarius, +or Guarnerius, the thin tone of the former and the rich round tone of +the latter become instantly most striking. The consequence is that the +rich amateurs who form collections, and the great performers whose +interest it is to please by the quality of tone as well as the grace +and finish of their execution, no longer purchase the Steiner violins +except as matters of curiosity in the case of a very fine example. We +do not know any great player who uses a Steiner instrument, as we shall +show in another article. We therefore only now class Steiner among the +great masters, from his past reputation, and for certain special +instruments. + +JACOB STEINER was a native of the Tyrol, and was born at Absom, near +Inspruck, about 1620. It is said that an old instrument by Kerlino, +which he found in the house, gave him his first tendencies towards the +art of violin making. Certain it is however that while yet a youth he +obtained employment in the workshop of Nicholas Amati. This was an +excellent school for the young aspirant, and after some years he made +some instruments which, with the exception of sixteen which will be +mentioned later, are considered to be the finest specimens of his +talent. These fine violins are the product of his Cremonese +inspiration, and bear a written label signed by himself and dated from +Cremona about 1644. These instruments are modelled higher than those of +his master, thus showing a singular divergence from the principle of +gradual decrease in the height of the model of the Amatis, from Andrew +to Nicholas. This divergence from that principle, which ended in the +flat model of Stradiuarius, must be considered to be the real cause of +the loss of favour which the Steiner violins, though beautiful in other +respects, have undergone. Steiner exaggerated the old practice instead +of following the new lights of science, and while the latter have +yielded the brightest results, the former has tarnished the real talent +of this otherwise excellent artiste. Probably another reason for the +defective tone of Steiner's instruments in comparison with the +Cremonese and Brescian, is the practice of modelling his violins with +an extraordinary and peculiar rise to about the foot of the bridge, and +then keeping it nearly flat. Otto describes it thus, "the breadth of +this raised part is about the same as the bridge itself, and then it +falls off towards the edges. The model is precisely similar towards the +neck and on the broad part (beneath the finger board.)" This description +is only imperfect in this point that sufficient stress is not laid on +the words _fall off_. It is literally a falling off, and on the +principles of acoustics must of necessity make the tone thin. Andrew +Amati, on the contrary, built nearly as high, but beautifully and +gradually sloped them down to the purfling, and his instruments, though +small in tone, are yet full, round and sweet. In other respects Steiner +at this period was a most careful maker, and his instruments show very +fine finish and workmanship. They are of the small pattern, with the S +holes rather shorter than the Cremonas, somewhat narrow and beautifully +formed; the head also smaller and particularly round and smooth. The +varnish is similar to that of the Amatis, and the wood of the belly has +a fine open grain. + +After the production of these instruments at Cremona, Steiner removed +to his native place and having married the daughter of Antonius Amati +appears to have lost his ambition, and made many very inferior +instruments. His history at this period is somewhat melancholy. Pressed +by the necessities of a family and the want of active patronage, his +genius languished and he became negligent and careless in his work. +This continued for some time till fortune again smiled upon him, when +not being compelled to sell for immediate wants he again resumed his +careful finish and began to be distinguished as a good maker. At about +this period Klotz and Albani became his pupils, and he produced some +excellent instruments, which are often distinguished by the scrolls +being ornamented with lions heads which are beautifully carved. These +and the heads of other animals are supposed to denote the crests of his +patrons at this period. They are dated from about 1650 to 1667 at +Absom. Fetis says the French violinist, Alard, has a violin of this +period of the greatest beauty, and that there is in Paris a genuine +Steiner, which he has heard Sivori play upon, which although of a very +small pattern has an unusually brilliant tone. + +Now comes the most brilliant period of this artiste's history in a +musical sense, though somewhat romantic and mysterious otherwise. + +Retiring to a monastery, it is said after the death of his wife, he +there passed the remainder of his life, but there does not appear to be +any positive information when he died. While there, however, he +resolved to distinguish the close of his career by the construction of +some violins of super-eminent beauty and quality. This he accomplished +by the aid of the superior, who obtained for him some very fine wood, +out of which those most famous instruments, known by the name of +_Elector Steiners_ were made by him. These are the violins which by +common consent most entitle this artiste to rank with the great +masters. They are of the very highest quality of the Steiner tone, +which Dubourg describes as "a pure ringing ethereal tone, comparable to +that of a woman's perfect voice--a shape of elegance--studied finish in +every detail, and a diaphonous varnish of golden hue." Such are the +characteristics, says this enthusiastic admirer of these productions of +Steiner's third or last epoch. There were sixteen of these violins, one +of which he presented to each of the twelve Electors, and the remaining +four to the Emperor. Unfortunately thirteen of them appear to have been +lost, and the remainder have all been in royal hands, the Empress Maria +Theresa, the Duke of Orleans, grandfather of King Louis Philippe, and +Frederick William of Prussia, and been presented by them (except the +last) to eminent foreign violinists. + +We have now presented a concise sketch of the career of this celebrated +artiste, and it is to be regretted that none of his more celebrated +violins are known to be in this country, to enable us to judge more +accurately, whether he succeeded, in any of them, in producing any +close approximation to the rich round tone of the best Cremona makers. +The best of those known to English connoisseurs are characterised by +the thin though brilliant tone we have described, which, when compared +with the Italian masterpieces, has led to their general depreciation in +the estimation of the highest authorities and the most distinguished +performers on the violin. + + + + +WHY ARE CERTAIN VIOLINS OF MORE VALUE THAN OTHERS? + + +In considering this question, several difficulties present themselves +to the inquirer. We are all aware of the infinite diversity of tastes +in the first instance, and in the next, accurate judgment is a matter +which depends on the union of so many qualities that it is rare indeed +to find two opinions completely alike. Nevertheless we do find that +there are a few instruments which by universal consent have become the +standard of taste. They are "the glass of fashion and the mould of +form" in the violin world. An appeal to these famous violins must +therefore be of some service in this inquiry, which is of very +considerable importance, because its object is to decide what is that +tone which confers that immense value which some violins have realised +as distinguished from that which possesses only a merit of so inferior +a character as to become scarcely valuable in any degree. In other +words, what are the distinguishing characteristics of tone of the +violins made by Nicholas Amati, Antonius Stradiuarius, and Joseph +Guarnerius. These three makers are now the Raphaels, the Titians, and +the Claudes of the musical world, and a few thoughts on their works in +connection with this subject may help us to a decision on this +difficult point, at least to the great bulk of amateurs. We will divide +the inquiry into three heads. + + 1. Power. + 2. Sweetness. + 3. Purity. + +In considering the first point, power, the amateur will have to beware +of a very possible mistake he may fall into. There is _apparent_ power +under the ear, arising from coarseness. This is a species of power +which is observable chiefly by the player. The listener, especially if +at a little distance, does not hear this power. The tone is clogged and +thickened with the resinous particles which have remained in the wood +and which perhaps, from its nature may never leave it altogether, and +the vibration is not therefore perfect. Another cause of false power is +a certain imperfect build wherein the parts are not properly calculated +as in the fine Cremona productions. These two classes of instruments +are very apt to deceive unpractised ears. But a moment's comparison +with one of the genuine great masters will show them in a most +unmistakable manner the difference. What then is real power? It is +simply musical tone, divested of all adventitious qualities. When tone +of this class is heard near, the effect is charming to the ear. When +heard afar off, it seems to swell out and become magnificent and +telling. Who that has heard a great player on a fine instrument, that +has not been astonished at the immense quantity of tone which arises +from this exceedingly fine quality. And it is in this way that even the +small Amatis, built when great amount of tone was not wanted and would +not have been appreciated, are still most delightful as solo +instruments. Its purity and fine quality carry it to a much greater +distance and produce a greater effect, than would arise from larger +instruments of less careful build and euphonic qualities. Herein is +discovered the difference between violins of the three great masters +named and others of the same name. If a small Nicholas Amati be +compared with a large model, it will be found that the quality is +similar, but the quantity is greater, and therefore the instrument +becomes more valuable. Again, in a Stradiuarius or Joseph Guarnerius of +the best period, which are of the flat model and most accurate build, +we find a pure ringing and deliciously rich quality, without roughness +or coarseness, that finds its way through everything to a great +distance, even in a crowded concert room. The differences in the three +great makers seems to be now decided to consist in fullness of tone and +quantity of power. The Amatis are essentially sweet and vocal. The +Stradiuarius--of similar quality, greatly increased in body and of a +more ringing bell-like character. The Guarnerius of the best model is +even still more powerful. But they all possess that essential purity +and richness of tone without which there is no real excellence. On this +head we find, therefore, that power, providing it be accompanied by the +other essentials of sweetness and purity, confers on violins the +greatest value. A Nicholas Amati of the grand pattern--a Stradiuarius +of the large flat model, or a Guarnerius of similar characteristics--all +of which have been built with the greatest care and attention to the +resonant qualities of the wood, and possess all these essentials--are +therefore the instruments that have and will always command the +greatest admiration. + +The next essential point in a good instrument we have to consider is +sweetness. This combines characteristics which are not essential to +power. A violin may possess the latter without the former. The tone may +be of a quality which will tell and carry, but not of that soft +delicious voice like nature which we call sweetness. The most admirable +instruments of this characteristic have been variously compared to a +flute or to the female voice. The latter is the best comparison. For +the brightest examples of this quality alone we must look to the small +violins of Antonius and Hieronymus, and also of Nicholas Amati. They +are of the most delicious quality, and for solo instruments cannot be +excelled. They respond with the most charming effect to the most +touching and passionate expression. A great player can really sing on +these with such a delightful effect as almost to compensate for the +want of speech. + +The third point is purity of tone. We may be said to have touched upon +this already in treating of the other two. But it is necessary to +allude to this also, because it is possible to have purity of tone +without sweetness or power. There are many instruments which from age +and use have lost all harshness or roughness of tone, but are still of +a thin piercing quality. These may be said to be pure in tone, but not +possessing the other requisites they fail in commanding attention. What +we have to look for in a violin is that roundness and fullness of +quality which are combined in the term sweetness. Tone cannot be said +to be sweet which is thin or piercing. It lacks one essential +characteristic. It is on this account that in the present day many of +the Steiner instruments have lost favour. There are a few which possess +both sweetness and purity, and they rank with the small Amatis. But the +best of them are wanting in power. This characteristic is only heard in +perfection in the Stradiuarius or the Guarnerius of Cremona, and the +great Brescian makers Gaspar di Salo and Magini. An amateur should look +therefore in purchasing an instrument whether it possesses these three +characteristics or any or which of them. + +We have now shown what are the essentials of a fine instrument, but as +the genuine productions of these great masters are mostly in the hands +of rich amateurs it is scarcely possible to become the happy possessor +of one of the perfect instruments. What then shall we do? The reply is +simple. Study the characteristics we have described, and you will find +in some of the pupils of the Amati, Stradiuarius, or Guarnerius a near +approach to this excellence. In fact it is well known that in the +scarcity of originals fine examples by the pupils have frequently been +sold as the work of the masters themselves. The Dictionary we have +compiled will tell the amateur what names will most probably supply the +qualities he desires. Care and attention will do the rest. + + + + +ON THE PRODUCTION OF GOOD TONE IN VIOLINS. + + +In the preceding chapter we have endeavoured to solve the question what +are the qualities that constitute good tone. We now propose to inquire +how good tone is provided for in the construction of the violin. We are +not about to enter into the scientific question. We wish merely to give +to the general amateur a knowledge which is often only acquired after +years of patient study and trial of instruments, by certain general +principles which will seldom or never be found to be incorrect in fact, +and then only through instruments being built on false rules in other +respects. In good instruments these rules may be said to be infallible. + +It is a curious fact that Gaspar di Salo and Magini, both early makers, +started with the principle which has since been brought to the greatest +perfection by the Cremona makers, and built on the flat model. Their +instruments are consequently found to possess much of the fine and +powerful tone which distinguishes Stradiuarius and Guarnerius. The +early Amatis, in the second place, built on a higher model, and their +instruments possess a sweet but not powerful tone. Steiner, thirdly, +built on a higher model still, and his instruments have a thin piercing +tone. We can only draw one conclusion from these facts--namely, that +the nearer we approach an entire flat in the model of a violin the +fuller, rounder, and more powerful the tone; other points of careful +work and good varnish being taken into consideration. This fact has +strongly impressed itself on the minds of scientific inquirers, and the +result has been, as tests of the principle, the production of flat +violins. These have been tried and reported satisfactory in the matter +of tone. But there are other points to provide for which a flat box +does not allow. To gain the requisite mass of air to produce good tone +a flat violin has to be made of a clumsy awkward shape. In the +beautiful modelled violin this is provided for in the rise of the back +and belly. The ribs may therefore be more or less shallow according to +the height of the model, and yet provide a sufficient space for the +necessary amount of air for the production of good tone. We arrive then +at this one certain fact, that the flatter the model of a violin the +greater the probability of a good fine tone. It is of such violins +therefore that we find the great performers possess themselves. This +may be said to be an infallible rule, and an examination of the +instruments of the most celebrated makers fully confirms it. + +Why therefore did the elder Amati, contemporary and probably pupil of +Gaspar di Salo, change the model and size of the instrument? This +inquiry brings us to the second rule for the amateur. There cannot be a +doubt that he adopted this plan because the flat model produced a more +powerful tone than was then required. He therefore, no doubt acquainted +practically, if not theoretically, with the principles of acoustics, +raised his model and decreased his size to provide for the production +of that eminently sweet tone which characterises his instruments. The +amateur therefore who desires tone of this description, but does not +want power, will generally find it in the model of medium height, +providing as in all other cases, the work and the wood are good. Of +this model are some of the sweetest toned violins to be found, of which +the Amatis are the type. + +Finally, many instruments are to be found constructed on Steiner's plan +with very elevated model flat on the centre, and falling off abruptly +towards the sides. These are all contrary to acoustic principles, and +their thin piercing tone is to be ascribed to the want of that +harmonious communication of vibration which their peculiar construction +inevitably indicates. + +Let, therefore, the amateur who wishes to be his own purveyor, examine, +with these principles impressed on his mind, whatever instruments he +can gain access to and the result will be that he will seldom err in +this matter. + +After this he must study the characteristics of good wood, careful +finish, and fine varnish. A knowledge of these is best acquired by +examining the instruments of the great masters. To go fully into these +also is not necessary here, having already commented on them under +their respective heads. One remark is, however, necessary here. Many +people foolishly imagine that _any_ violin may be made to produce +as sweet sounds in the hands of a skilful player as a high class +instrument. This is a great mistake, and a convincing proof of its +fallacy may be drawn from the fact that all the great soloists play +upon high class violins. They do this moreover at a time when they +would gladly save the expense were it possible. A few instances may +interest the reader. + + +GREAT PLAYERS AND THEIR INSTRUMENTS. + +Joachim plays upon a Stradiuarius, Vieuxtemps on a Guarnerius, Ole Bull +on a Guarnerius and an Amati, De Beriot on a Magini, (of which he had +two very splendid examples, the second being now in the possession of +the author,) Carrodus a Guarnerius, and many other living instances. +Piatti a Ruggerius violoncello, Servais a Stradiuarius violoncello. +Past examples may be cited in Paganini, who played upon a Guarnerius, +Mori a Guarnerius, and Spagnoletti the same. Ernst used a Stradiuarius. +Dragonetti played on a Gaspar di Salo and a Stradiuarius double bass. + + + + +GENERAL NOTES. + + +In the last article, we have given some general rules for judging of +the probable tone of an instrument from its model. A few further +remarks on this and other important topics will well supplement what we +have said. + + 1.--Accurate judgment in violins can only be obtained by long +experience and seeing many instruments, and if possible those of a high +class. There are many little points which to a casual or careless +observer are invisible, but which a practised connoisseur detects +immediately, and thereby is enabled to declare the maker. A difficulty +will often present itself to a tyro in the knowledge of violins, from +the family likeness which it is possible to trace, for example, between +Amati, Stradiuarius and Bergonzi. These have a general resemblance +which indicates the coming from one school. This applies also in many +other cases--but every master has some distinct difference which is +perceptible to the practised eye. The faces of a flock of sheep are to +a stranger all alike; to the shepherd, each has its personal +individuality. It is the same with violins, which can be read by the +practised student as easily as we know each other by the countenance. + + 2.--It is erroneous to imagine that Cremonese instruments can be +successfully imitated, a very popular story about Paganini's Guarnerius +to the contrary notwithstanding, as the lawyers say. An attempt to +impose an imitation on a practised judge is always productive of an +unpleasant result. To fall from the sublime to the ridiculous is +especially awkward, and results in becoming very particularly +ridiculous yourself. This _must_ be whenever a modern maker attempts to +make an ancient violin. There are practical difficulties impossible now +to get over--such as the varnish. The secret of making the grand old +varnish is lost, and therefore whatever is put on by a modern tells the +tale and cries aloud to the judge--This is a cheat! + + 3.--It is easier to imitate an old painting than an old violin, though +that is difficult enough to a good judge, but such an insuperable +obstacle as the old amber varnish does not puzzle the picture forger. + + 4.--In choosing an instrument it is better to select one of a flat +model, the sides of medium height, well proportioned and with good oil +varnish. + + 5.--We are inclined to think that all the great instruments of the +great makers are well known, and that there are none lying by unknown +to fame. + + 6.--Most of the more celebrated instruments are given a name of +distinction, such as the Yellow Stradiuarius, the Blood Red Knight +Guarnerius, the Ole Bull Guarnerius, the De Beriot Magini, the +Emmeliani Stradiuarius, the General Kidd Stradiuarius Violoncello, the +Servais Stradiuarius Violoncello, and others. These can be recognised +like the human face. + + 7.--The reason why Italian instruments are so superior to all others +must be ascribed to their exquisite make, the careful adjustment of the +various thicknesses of wood and the varnish, the secret of which +appears gone for ever. Perhaps another reason may be named in the wood +being so ripe and dry as to permit free vibration. + + 8.--The Cremonese obtained their colour in oil. The moderns get it only +in spirit, which imparts a hardness to the tone. Compare a Cremona with +the German and other imitations. Can't you hear how perceptible the +difference? The former is mellow and rich--the latter flinty and harsh. +This arises no doubt from the varnish. + + 9.--The Cremonese violoncellos were mostly made deeper by half an inch +at the bottom than at the upper part. Guiseppe fil Andreae, Guarnerius, +Stradiuarius, Landulphus, and others observed this rule. The tone is +said to be greatly improved by it. + +10.--Some persons think it is very difficult to obtain an Italian +violin at a moderate price. It is not so. There are many whose makers +are not known, and also third class instruments of good qualities, +which can be obtained from L10 to L25. It is better to purchase one of +these than a baked copy or a new violin. Then again amateurs may resort +to the old French makers, some old English and the Tyrolean, which may +be had cheaper still. + +11.--A respectable dealer who is known to be a connoisseur of +experience, will never sell you a modern copy for an old Italian violin +with a long story of how he got it in some wonderful way. His character +is at stake. Beware of ignorance which assumes the mask of knowledge, +or of designing roguery which apes the appearance of innocence. + +12.--The present excellence of the old instruments arises from their +having been made thick in wood, which time has ameliorated and +mellowed, and now permits free vibration. It is much to be deplored +that many instruments have not been suffered to remain as the makers +left them, and that others under a false notion of giving an old tone +have been made too thin. + +13.--Had Magini, Gaspar di Salo, and other very old makers used as +little wood as some of their successors, where would their instruments +have been now? We are at the present time reaping the benefit of their +foresight. + +14.--There is evident proof of the deep interest the high class makers +took in endeavouring to advance the interests of their art. For +example, Stradiuarius sometimes put the widest grained wood on the +fourth string side, feeling it was the weakest and needed the open +grain. Sometimes he put it on the first string side. He was evidently +trying experiments. But he mostly adopted the former plan, no doubt +correctly. Again, they made instruments larger at the bottom than at +the upper part, gradually reducing in size and depth, an experiment +which observation has since found to be correct. They also made +instruments thicker under the bridge to enable them to bear the great +tension to which they are subject, and many other points showing how +perfect they became. They left little for modern ingenuity to discover. + +15.--Old instruments of character should be greatly prized and +carefully preserved, for it seems probable that there will be no others +to take their places, from many well known causes. + +16.--Makers of the present time have perverted their talents to +discover a means of producing the qualities of old instruments in new +ones, an achievement utterly impossible, as their efforts show. Many +make instruments with the greatest care, copying the plans of the old +masters--but instead of allowing Father Time to ripen them, they use an +acid to dry up the wood, or bake them. These are known by a peculiar +smell which tells the tale, and they get worse instead of better. +Again, they deem it wise to get a colour at any price, which can only +be done in our day by the use of spirit varnish. Did they use oil +varnish, our successors would at all events reap the benefit, if not +ourselves. The great masters were willing to wait for fame and tried +none of these dodges. Others again put the varnish on and rub it off in +places to resemble the wear of age. Much better would it be to cover +the instrument with varnish and leave age to do the rest. Such schemes +are futile and reflect discredit on those who adopt them. + +17.--The peg holes seen in old Italian violoncellos in the middle of +the back are where a peg was put to fasten the instrument round the +neck while playing in the Catholic Churches. + +18.--Stradiuarius in his early career frequently cut his wood to form +what are called slab backs, (explained elsewhere,) and sometimes used +pear tree for violoncellos. + + + + +REPAIRS OF INSTRUMENTS. + + +We cannot part with the reader who has thus far accompanied us in our +labours, without making a few remarks on the important subject of +repairs. So many fine instruments have been ruined and the beauty of so +many more tarnished by the mal-addresse and ignorance of some so-called +restorers and repairers, that we think we shall be serving the admirers +of the violin by warning them against entrusting valuable instruments +to incompetent hands. A few notes will serve to illustrate the chief +subjects for care and some important items in fitting instruments +properly. + +1.--So-called repairs have been frequently so clumsily done, as to +damage old and valuable instruments to an extent impossible to remedy. + +2.--There are many instances where wood has been taken out of the +instrument under the idea of improving the tone. This is a fatal error, +and when the mischief is discovered it is replaced by new wood. Others +have done the same under another erroneous impression, that it will +give strength to the instrument to enable it to bear the increased +pressure caused by the higher pitch used at the present time. Whatever +the notion, the result is always bad. The grain of the new wood does +not come level with the old, and causes a sudden check to the +vibration. The glue also lying between the old and the new wood deadens +the sound. Some repairers have been guilty of this practice to a great +extent, and many fine instruments have been thus damaged. Let no one +under any plea tamper with the thicknesses of wood in a good violin. + +3.--The sound bar used by the old masters (as we have before stated) +and others of that period, was much shorter than is now used, and +consequently all have been changed. The present bar is quite sufficient +to bear the increased pressure required in our time, without resorting +to any other means. If an alteration be required an experienced +repairer only can know the kind of bar required. + +4.--The necks of the old instruments were short; they have therefore to +be lengthened if found in their old state. A good repairer will splice +a neck in so as to be scarcely perceptible. Much of the ease and +comfort of playing depends how this is done. + +5.--The sound post is a very important item in fitting an instrument. +There is a marvellous power in this simple contrivance. It should fit +as though it were part of the back and belly. An instrument can be +frequently cured of a bad description of tone by the slightest move of +the post. Those subject to what are termed wolfy notes can be remedied +or the bad notes shifted to less important ones. It is a mistake to +suppose there is a particular place for the sound post in all +instruments alike. It depends upon the model of the instrument to a +great extent. High models require the post nearer the foot of the +bridge than flat models. Others require the post thick or thin. The +regulating of the post should only be entrusted to the skilled hand, +and we would impress upon amateurs that it is better never to shift the +post themselves. Many instruments have had the sound holes spoiled and +the surface of the wood inside gored by unskilful tampering with the +post. + +6.--The bridge is another very important agent in regulating an +instrument. No general rule will serve for this matter. Some +instruments require the bridge thick, others thin. Some a close grain +and others the contrary. The bridge should be fitted as accurately as +the post, and as though it grew from the belly, the feet touching +equally all round. + +7.--Tail pieces are better quite free from ornaments, which frequently +cause the instrument to jar disagreeably. + +8.--The strings are of great importance. They should be adjusted to be +in perfect fifths. This is essential, otherwise it is impossible to +play double notes correctly in tune. It may be done with a little +trouble. When the instrument is in tune on the open notes, place the +finger across the strings, for example, at B on the second string, and +F on the first string. If the fifth is imperfect, tune one string a +shade higher, and try again. If then perfect it requires a smaller +string. If not, tune a shade lower than the perfect open fifth, if then +right when tried as before, it requires a thicker string.[1] + + [1] We have seen a little instrument advertised to accomplish + this important matter without trouble. + + THE PERFECT FIFTH'S GAUGE.--"This useful gauge is marked with + such precision as to render all strings gauged by it in + accordance with each other producing perfect fifths, enabling + the performer to execute passages of double notes with the + greatest facility and correctness, at the same time effecting a + considerable saving of time and expense by entirely superseding + the old method of obtaining fifths by changing the strings." It + is manufactured and sold by Mr. John Hart, 14, Prince's-street, + Leicester-square, London. + + + + +ADDENDA. + + +LARCHE, ---- Brussels, 1847. Copyist of old makers. One of those who +endeavoured to produce an old tone by the use of acid, and consequently +spoiled the wood. + +ALBANESI, ---- Cremona, 1737. Similar to Testore of Milan, but broad +pattern. His instruments have a large tone, but poor varnish. + +GOBIT, ---- Venice, 1716. Made similar instruments to Ruggerius, and +used beautiful varnish. + +GABRIELLI, ---- Florence, 1740. Made excellent Violoncellos, yellow +varnish. Written labels. + +ANTONIAZZI, GAETANO, Cremona, 1860. This maker sent a violin to the +Exhibition of 1862, but is much behind his predecessors. + +FALCO, ---- Cremona, 1752. Made well proportioned instruments. + +HARRIS, CHARLES, London. An admirable workman. His instruments are +among the finest of the English. + +GAGLIANO, NICHOLAS, Naples, pupil of Stradiuarius. We have a note +(omitted in its proper place) that this maker excelled in violoncellos, +many of which are covered with fine rich varnish, seldom seen on +instruments by the Gagliano family. + + * * * * * + +In our notice of Stradiuarius Violins at page 113 we should have said +that William Howard, Esq., of Sheffield, possessed _two_ fine +examples--one as described and the other of the beautiful red varnish, +the latter formerly the property of the celebrated violinist Salomon, +for whom Haydn wrote his twelve grand symphonies. + + +PEARCE, PRINTER, SHEFFIELD. + + + + + + +End of Project Gutenberg's Violins and Violin Makers, by Joseph Pearce + +*** END OF THIS PROJECT GUTENBERG EBOOK VIOLINS AND VIOLIN MAKERS *** + +***** This file should be named 37309.txt or 37309.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/3/7/3/0/37309/ + +Produced by Markus Brenner and the Online Distributed +Proofreading Team at https://www.pgdp.net (This file was +produced from images generously made available by The +Internet Archive/American Libraries.) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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