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Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..5455d2d --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #53785 (https://www.gutenberg.org/ebooks/53785) diff --git a/old/53785-0.txt b/old/53785-0.txt deleted file mode 100644 index dbde8a0..0000000 --- a/old/53785-0.txt +++ /dev/null @@ -1,2828 +0,0 @@ -Project Gutenberg's The Violin and Old Violin Makers, by A. Mason Clarke - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world 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. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - - - -Title: The Violin and Old Violin Makers - Being a Historical & Biographical Account of the Violin - with Facsimiles of Labels of the Old Makers - -Author: A. Mason Clarke - -Release Date: December 21, 2016 [EBook #53785] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE VIOLIN AND OLD VIOLIN MAKERS *** - - - - -Produced by Tor Martin Kristiansen, Joseph Cooper, Stephen -Hutcheson and the Online Distributed Proofreading Team at -http://www.pgdp.net - - - - - - -A Copy of the Gasparo da Salo Violin used by Ole Bull, the Famous -Scandinavian Violinist, made by Mr. Gillingham, of Chiswick. (_The front -view of this violin will be found on the cover._) - - - - - THE VIOLIN - AND - OLD VIOLIN MAKERS - - - BEING A - HISTORICAL & BIOGRAPHICAL - ACCOUNT OF THE VIOLIN - With Facsimiles of Labels - of the Old Makers - - BY - A. MASON CLARKE - [Author of “Biographical Dictionary of Fiddlers.”] - - - London: - WILLIAM REEVES, 83 CHARING CROSS ROAD, W.C. - _Publisher of Books on Music._ - - - _Printed by The New Temple Press, Norbury Crescent, London, S.W.16._ - -A Copy of the Gasparo da Salo Violin used by Ole Bull, the famous -Scandinavian violinist. Made by Mr. Gillingham, of Chiswick. - - - - - PREFACE. - - -This little work is the outcome of some little thought, born of -hesitation. To be clear, I should mention that some years ago I -completed a somewhat exhaustive work on the violin, the first portion of -which reached the stereotype stage, but unfortunately owing to a fire -the plates were destroyed. Other business pressing, the work was laid -aside. In the meantime other books on the violin have been published, a -fact which might be taken as rendering any further work on the subject -superfluous. However, it has been suggested to me by some musical -friends that if I could produce a popular work which could be issued at -a low price it would be well received. Buoyed up with this hope, I set -to work with the object of presenting in a concise form such information -as I have thought necessary or at least of interest to every one who -elects to take up the violin, either as an object of recreation or -serious study. Time alone will prove whether or not the appearance of -this addition to the literature of the violin is justified. - -In order to facilitate my labours I have consulted the leading British -and foreign authorities on the violin and kindred instruments. I have -also during many years devoted much time to the inspection and study of -genuine old instruments. - - A. M. C. - -Forest Hill, London. - - - - - CONTENTS. - - - PART I. - - - HISTORICAL. - PAGES - I.—Introductory and Early English 1-29 - II.—Italy 30-35 - III.—France 36-40 - IV.—Germany 41-44 - - - PART II. - - - BIOGRAPHICAL. - - - Violin Makers of the Old Schools. - I.—Italian, with Labels 45-71 - II.—German and Tyrolese, with Labels 72-82 - III.—French, with Labels 83-89 - IV.—British, with Label 90-103 - - - PART III. - On the Development of Classical Music for the Violin and other - Stringed Instruments 105-117 - - - - - PART I. - HISTORICAL. - - - I.—INTRODUCTORY AND EARLY ENGLISH. - -The origin of the violin is always a very interesting subject for study. -It is one upon which many great writers have devoted much time and -thought, but as they arrive at varying conclusions, and in some cases -opposite opinions, the result is to leave the mind of the student in a -state of conjecture and speculation. - -In tracing the development of certain species of stringed instruments -the arguments of some authorities often appear pretty conclusive, but -generally we are confronted with such a mass of contradictory -assertions, that we can only treat the theories put forward as -approximate. The professor, teacher and matured student approaching this -subject, of course do so with great profit, as they are better able to -accept or reject whatever may be said concerning the ancestry of the -violin family, than is the young beginner. - -For those who desire a more extended knowledge of the rise and progress -of the violin family a large field of literature is open. As a -preparatory the author recommends Otto’s “Treatise on the Structure and -Preservation of the Violin” (W. Reeves, London), which contains much -valuable and interesting information on the subject. - -Now, there can be little doubt but that the simplest form of stringed -instrument (played with a bow) was conceived from the idea of a -stretched string fixed at two _points_, vibration being excited by means -of a jagged stick. The earliest known instrument of this species, -according to M. Fétis (a great historical writer on the subject) is the -ravanastron, stated to have been invented by an ancient King of Ceylon, -called Ravana, some five or six thousand years ago. It consisted of a -cylinder of sycamore wood, hollowed out from one end to the other. “This -cylinder is about 4⅜ inches long, and has a diameter of 2 inches. Over -one end is stretched a piece of boa skin, with large scales, which forms -the belly or sound-board. The cylinder is crossed from side to side—at -one-third of its length, next the sound-board—by a rod or shank of deal, -which serves as a neck, of the length of 22 inches, rounded on its under -part, but flat on the top, and slightly inclined backwards. The head of -this neck is pierced with two holes for the pegs, half an inch in -diameter; not in the side, but in the plane of the sound-board. Two -large pegs, 4 inches in length, shaped hexagonally at the top, and -rounded at the ends which go into the holes, serve to tighten two -strings made of the intestines of the gazelle, which are fixed to a -strap of serpent skin attached to the lower extremity of the rod or -shank. A little bridge ¾ of an inch long, cut sloping on the top, but -flat on the part which rests on the sound-board, and worked out -rectangularly in this part, so as to form two separate feet, supports -the strings. As to the bow, it is formed of a small bamboo, of which the -upper portion is slightly curved, and the lower (nearly) straight. A -hole is made in the head of the bow, at the first knot, for fixing a -hank of hair, which is strained and fixed at the other end, by binding a -very flexible rush string twenty times round it.” - -Such is this most primitive bow instrument, slight modifications of -which still exist in Eastern countries. The Chinese and Japanese fiddles -one often sees now in music-shops are not at all unlike the ancient -ravanastron. That India appears to have given birth to bow instruments, -and to have made them known to other parts of Asia, Egypt and afterwards -to Europe, no conjecture is needed, for the instruments themselves -exist, and still preserve the characteristics of their native -originality. - -We will now pass over a few thousand years during which time stringed -instruments of great variety and of every conceivable shape had been -invented and improved upon in different countries of the world, their -gradual development (brought about, no doubt, more by circumstances -existing at various periods than by any real aim towards artistic -achievement) giving birth to the various families of stringed -instruments in use at the present day, e.g., the violin family, the -harp, guitar, mandoline and pianoforte. - - * * * * * * * * - -In tracing the progress of the violin (which the author will endeavour -to do in connection with its music and performers) it is necessary to -content ourselves with a more definite standpoint, therefore, we will -commence with a period when the viol or fiddle family came upon the -scene, the immediate precursor of the violin; the viol, in fact, is not -inaptly termed the grandfather of the violin. - -The great distinctive feature between a viol and the present violin -family, is that instead of F sound-holes, viols had C holes. Some had -sound-holes in the shape of what are known as “flaming sword” holes. -They carried five or six strings, sometimes more, and the finger-board -was mounted with frets, for (as was then thought) the more certain means -of stopping the notes in perfect tune, an idea which, to modern -violinists, involves an absurdity. - -Viols are known to have been in use as early as the fifteenth century -(some writers go back to the thirteenth, but these early ones partook -more of the nature and shape of the guitar than of the subsequent viol). -The viol continued in use up to the beginning of the reign of Charles I, -and was one of the most popular instruments in its time. There were -generally four in use, viz., treble, alto, tenor and bass, and occupied -in some respects the position now held by our violin, tenor, ’cello and -double bass. To an ordinary observer there is little difference in -appearance between the shape of a treble viol and the earliest violin, -so that a considerable latitude of doubt may be allowed to exist as to -the finality of the former and the adoption of the latter; but certain -it is that the violin of the time became to be appreciated to such an -extraordinary degree, that the principal viol and lute makers towards -the end of the sixteenth century set about making violins in the place -of viols. Whether the idea of this change was dictated by the caprice of -novelty, or whether any special demand arose for an instrument of more -extended compass by reason of the advancement made in the musical -compositions of the time, it is difficult to determine with certainty. -It is significant, however, that at this period of the advancement of -the violin, the musical influence of Tallis (the founder of English -church music), and of Bird, his illustrious pupil, was manifesting -itself throughout this country, and in Italy the music of Palestrina -exercised a similar influence. - -In the year 1662 appeared the first work printed in England containing -any reference to the violin. It was written by one John Playford, and is -entitled “A Brief Introduction to the Skill of Musick,” wherein is the -following relating to the violin: - -“The treble violin is a cheerful and sprightly instrument, and much -practised of late, some by book, and some without; which of these two is -the best way, may easily be resolved. First, to learn to play by rote or -ear, without book, is the way never to play more than what he can guess -by seeing and hearing another play, which may soon be forgotten, but, on -the contrary, he which learns and practices by book, according to the -rules of musick, fails not after he comes to be perfect under these -rules, which guide him to play more than ever he was taught or heard, -and also to play his part in concert, the which the other will never be -capable of, unless he hath this usual guide. - -“These rules of music are in a plain method, as it shows in the first -six chapters of this book, the which being perfectly understood, viz., -the notes of the scale or gamut, which directs the places of all notes, -flat and sharp, by which are pricked all lessons and tunes on the five -lines, thus distinguishing of the several parts by their cliffs, as the -treble, tenor, and basse. Lastly, the names of the notes, their -quantities, proportions, and rests, according to the rule of keeping -time, etc. There then remains two things to be instructed in, how the -violin is strung and tuned, and secondly, to give you directions for the -stopping the several notes, both flat and sharp, in their right places. -Then, first observe that this cannot be expressed in words unless on the -neck or finger-board of the violin there be set five or six frets, as is -on the viol. This, though it be not usual, yet it is the best and -easiest way for a beginner, for by it he has a certain rule to direct -him to stop all his notes in exact tune, which those that do learn -without seldom attain so good an ear to stop all notes in perfect tune. -Therefore, for the better understanding of these following examples, I -shall assign to those six frets on the finger-board of your violin six -letters of the alphabet in their order” (here follow examples), after -which he says: - -“These few rules (and the help of an able master to instruct thee in the -true fingering, and the several graces and flourishes that are necessary -to be learnt by such as desire to be exquisite hereon), will in a short -time make thee an able proficient.” - -These quaint instructions would hardly suffice to meet the requirements -of modern violin playing, but it is interesting to observe the rules and -precepts laid down for the student’s guidance over two hundred years -ago. Observe also the recommendation of frets for accuracy in stopping -the notes. - -The viol, however, was not destined to die a sudden death, at any rate, -in this country. The soft wailing tone of the viol still found many -admirers, principally amongst amateurs, who regarded the violin in the -nature of an interloper. Their cause too was vindicated by one Thomas -Mace, who, curious to relate, was born in the same year as John Playford -(1613). This worthy lived in Cambridge, and in 1676 published a work -entitled “Musick’s Monument, or a Remembrancer of the best practical -music both Divine and Civil that has ever been known to be in the -world,” certainly a most ambitious title and one that does not in the -least suffer on its comparison with the precepts contained in the book. -He was one of the clerks of Trinity College, Cambridge, and seemed to -have acquired considerable knowledge of matters musical. Under whom he -was educated, or by what means he became possessed of so much skill as -to be able to furnish matter for the above work, he has nowhere informed -us. We may collect from it that he was enthusiastically fond of music, -and of a devout and serious disposition, though cheerful and good -humoured. - -His knowledge of music seems to have been confined to the practice of -the lute (his favourite instrument) and the viol. The third part of this -work is devoted chiefly to the viol, and in this he censures the abuse -of music in the number of bass and treble instruments in the concerts of -his time, in which he says, it was not unusual to have but one small -weak-sounding bass viol to two or three “scoulding violins.” This -disproportion he seeks to remedy by the observance of the following -instructions. He says: - -“Your best provision (and most compleat) will be a good chest of viols -six in number, viz., 2 basses, 2 tenors, and 2 trebles. All truly and -proportionably suited. Of such, there are no better in the world than -those of Aldred, Jay, Smith (yet the highest in esteem are), Bolles and -Ross (one bass of Bolles I have known valued at £100). - -“These were old, but we have now very excellent good workmen who (no -doubt) can work as well as those if they be so well paid for their work -as they were, yet we chiefly value old instruments before new, for by -experience they are found to be far the best. The reason for which I can -no further dive into than to say, I apprehend that by extream age the -wood (and those other adjuncts) glew, parchment, paper, lynings of -cloath (as some use), but above all the vernish. These are all so very -much (by time) dryed. Linefied, made gentle, rarified, or (to say better -even) agefied, so that that stiffness, stubbornness, or clunginess, -which is natural to such bodies are so debilitated and made plyable, -that the pores of the wood have a more and free liberty to move, stir, -or secretly vibrate, by which means the air (which is the life of all -things both animate and inanimate), has a more free and easy recourse to -pass and repass, and whether I have hit upon the right cause I know not, -but sure I am that age adds goodness to instruments, therefore they have -the advantage of all our late workmen. - -“Now suppose you cannot procure an entire chest of viols suitable, etc. -Then thus. Endeavour to pick up (here or there) so many excellent good -odd ones as near suiting as you can (every way), viz., both for shape, -wood, colour, etc., but especially for size. And to be exact in that -take this certain rule, viz., let your bass be larger, then your trebles -must be just as short again in the string, viz., from bridge to nut, as -are your basses, because they should stand 8 notes higher than the -basses. Therefore, as short again (for the middle of every string is an -8th) the tenors (in the string) just so long as from the bridge to F -fret because they stand a 4th higher. - -“Let this suffice to put you into a complete order for viols.” - -We have given the above quotation _in extenso_ without breaking in with -any comment, in order that the student may better understand the -peculiar phraseology used by this ancient authority. The student will -observe that old instruments were equally valued in those days as in -these, and this too was at a period anterior to the fame of the great -Stradivarius, whose grand period commenced with the opening of the -eighteenth century.[1] - -There appears to be a general consensus of opinion favouring the theory -that Gaspar da Salo, the founder of the Brescian school of violin -makers, who probably worked from 1560 to 1610, was the first to make -violins in their present shape. Be this as it may, no mention is made of -any of his instruments having found their way into this country at this -period, nor is he mentioned in any way in connection with the adoption -of the violin in this country, the probability is that our own viol and -lute makers commenced a school of their own, although nothing definite -seems to be known as to who they were. One thing, however, seems -certain, the early English violin makers were far behind the Italians in -point of workmanship. The English model was large and clumsy, while that -of Italy left hardly any room for improvement. - - * * * * * * * * - -The derivation of the word fiddle[2] appears to be wrapt in obscurity, -and must in no way be taken as coeval with the term violin. According to -Strutt, the antiquary (who wrote a very interesting work last century on -the sports and pastimes of the early English), the name of fiddler was -applied to the minstrels or itinerant musicians of the fourteenth -century. Chaucer, in his “Canterbury Tales,” mentions the term in -connection with “The Clerke of Oxenforde.” - - For him was lever han at his beddes head - A Twenty Bokys clothyd in blacke or rede - Of Aristotel and hys philosophie - Than robys riche or fidel or sautrie. - -In the “Vision of Pierce the Ploughman,” we read “not to fare as a -Fydeler or a Frier to seke Feastes.” - -It would appear that as time went on, these wandering minstrels or -fiddlers sunk very much in popular estimation, and were held in very low -esteem, so much so, that in the reign of Elizabeth was passed an Act -entitled “An Act for the punishment of rogues, vagabonds, and sturdy -beggars,”[3] and amongst the malefactors amenable under this Act were -included “‘Wandering Minstrels’ (other than players of interludes -belonging to any Barron of the realm, or any other honourable personage -of greater degree if authorised to play under the hand and seal of arms -of such Baron, or personage”) the penalty being “such pain and -punishment as by this Act is in that behalf appointed.” - -We hear of the itinerant musician again in an ordinance from Oliver -Cromwell dated 1656, during his protectorship, which prohibited “all -persons commonly called fidlers or minstrels” from “playing, fidling and -making music in any inn, alehouse or tavern,” and also from “proffering -themselves, or desiring or intreating any one to hear them play or make -music in the places aforesaid.” - -The great moralist, Owen Feltham, in his “Resolves,” 1631, also touches -upon the subject. Under his remarks on music we read: “It is a kind of -disparagement to bee a cunning fiddler. It argues his neglect of better -employment and that he hath spent much time upon a thing unnecessarie. -Hence it hath been counted ill for great ones to sing and play like an -arted musician, Philip asked Alexander if hee was not ashamed that he -‘sang so artfully.’” In the “Westminster Magazine” for February, 1775, -is an article entitled “Fiddling Defended,” as follows: - -“Some people are unreasonably severe against Fiddlers, but surely there -is no absurdity in attracting the eyes of the fair in displaying a white -hand, a ring, a ruffle, or sleeve to advantage. Who can blame the -performer who is successful enough to fiddle himself into a good -fortune? Whatever the rigid and austere may think, the approbation of -the ladies is no small spur to a proficiency in music as well as in many -other sciences. It is highly probable that Achilles (though the blind -bard is silent upon this head) would not have strummed his harp with so -much glee if the ears of Deidamia and Brifeis had not been tickled by -it.—A FIDDLER.” - -Peacham, in his description of a “Compleat Gentleman,” published 1634, -addresses his readers thus: “I desire no more in you than to sing your -part sure and at first sight, and withall to play the same upon your -violl or the exercise of the lute privately to yourselfe”—and in another -place he observes: “King Henry the eighth could not onely sing his part -sure but of himselfe compose a service of foure five and sixe parts”—and -we are told that Queen Elizabeth was a tolerable performer on the -virginals (the precursor of the pianoforte) and also the violin. - -The next source from which any historic information concerning the -fiddle is obtained is from the writings of one Anthony Wood, of Oxford, -who, although not a professional player, was an enthusiastic amateur -whose opinion was not to be despised. - -This worthy in his life written by himself in the year 1654 gives an -amusing account of a musical escapade which it may not be out of place -here to repeat, as the work is rather scarce and difficult of access. It -throws an interesting light on the state of music at that period. He -says: - -“Having by this time got some musical acquaintance, a frolick by all -meanes must be taken by us; and what should it be, but to disguise -ourselves in poore habits, and like contry fidlers scrape for our -livings? Faringdon Fair this yeare was the place designed to go to: And -all of us (five in number) lodging in a house in the Middle Rew in Magd. -parish,—belonging to one Gregory a Chandler, wee sate out very early the -next morning, and calling first on Mr. Th. Latton’s house at Kingston -Baképuze, wee bid him good morrow by 2 or 3 tunes. He came in the hall -among us, listened to our musick, gave us money, and ordered drink to -(be) carried to us. After wee had done with him, wee retired to the In -standing on the road going to Farringdon, dined there, and after dinner -wee were entertain’d by some of the neighbours, who danc’d (as I -remember) on the Green, gave us some money and victualls, and I think -wee returned very late that evening to Oxon. The names of those in this -exploit were, myself and Will Bull before mentioned, who played on the -Violins, Edm. Gregorie, B.A., and gent. com. of Mert. Coll. who play’d -on the bass viol, John Nap of Trinity on the citerne, and George Mason, -of the said Coll. on another wyer instrument, but could do nothing. Soon -after we took a voyage northward, called at Hampton Poyle, played at Mr. -Wests’ house, had some money, but more drink. Afterwards we went (I -think) to Kidlington, got something there, returned in the evening, and -certain soldiers overtaking us, they by force, made us play in the open -field, and then left us without giving a penny. - -“Most of my companions would afterwards glory in this, but I was -ashamed, and could never endure to hear of it.” - -He goes on to relate that by 1656 he “had a genuine skill in musick, and -frequented the weekly meetings of musitians in the house of Will Ellis, -late Organist of St. Johns Coll., situated and being in a house, -opposite to that place whereon the Theatre was built.” Here he gives a -list of the company who met and performed their parts on lutes and -viols. The music masters were: “Will Ellis, Batchelor of Musick, and -owner of the house, who always played his part either on the organ or -virginal:—Dr. John Wilson, the public professor, the best at the lute in -all England. He sometimes play’d on the lute, but mostly presided -(directed) the consort.—Curteys, a lutenist, lately ejected from some -choire or cathedral church. Thomas Jackson, a bass violist.... Ed. Low, -Organist lately of Christ Church. He play’d only on the organ; so when -he played on that instrument Mr. Ellis would take up the counter-tenor -viol, if any person were wanting to perform that part. Gervace Littleton -... a violist; he was afterwards a singing man of St. Johns Coll. Will -Glexney, who had belonged to a choire before the warr ... he played well -upon the bass-viol, and sometimes sung his part.... Proctor, a young man -and a new comer. John Parker, one of the university musitians. But Mr. -Low, a proud man, could not endure any common musitians to come to the -meeting, much less to play among them. Of this kind I must rank John -Haselwood, an apothecary, a starch’d formal clister-pipe, who usually -played on the bass-viol, and sometimes on the counter-tenor. He was very -conceited of his skill (though he had but little of it) and therefore -would be ever and anon ready to take up a viol before his betters, which -being observed by all, they usually called him ‘Handlewood.’ The rest -were but beginners. - -“Proctor died soon after this time, he had been bred up for Mr. John -Jenkyns, the mirrour and wonder of his age for musick, was excellent for -the lyra-viol, and division-viol, good at the treble-viol, and -treble-violin, and all comprehended in a man of three or four and twenty -years of age. He was much admired at the meetings, and exceedingly -pitied by all the facultie for his loss.” - -“A. W. was now advised to entertain one Will James, a dancing master, to -instruct him on the violin, who by some was accounted excellent on that -instrument, and the rather, because it was said that he had obtained his -knowledge in dancing and musick in France. He spent, in all, half a -yeare with him, and gained some improvement from him; yet at length he -found him not a compleat master of his facultie, as Griffith and Parker -were not; and, to say the truth, there was no complete master in Oxon -for that instrument, because it _had not hitherto been used in consort_ -among gentlemen, only by common musitians, who played but two parts. The -gentlemen in private meetings, which A. W. frequented, played three, -four, and five parts with viols, as treble-viol, tenor, counter tenor, -and bass, with an Organ, virginal or harpsicon joyn’d with them; and -they esteemed a violin to be an instrument only belonging to a _common -fiddler_, and could not endure that it should come among them, for feare -of making their meetings to be vaine and fiddling. But before the -restoration of King Charles II, and especially after, viols began to be -out of fashion, and only violins used, as treble-violin, tenor, and bass -violin; and the King, according to the French mode, would have 24 -violins playing before him while he was at meales, as being more airie -and brisk than viols.” - -Under the year 1658 he informs us that: “Tho. Baltzar, a Lubecker borne, -and the most famous artist for the violin that the world had yet -produced, was now in Oxon. And this day (July 24th), A. W. was with him -and Mr. Ed. Low at the Meeting house of Will Ellis. A. W. did then and -there, to his very great astonishment, heare him play on the violin. He -then saw him run up his fingers to the end of the finger-board of the -violin, and run them back insensibly, and all in alacrity and in very -good tune, which he nor any in England saw the like before. A. W. -entertained him and Mr. Low with what the house could then afford, and -afterwards he invited them to the tavern; but they being engag’d to goe -to other company, he could no more heare him play or see him play at -that time. Afterwards he came to one of the weekly meetings, at Mr. -Ellis’s House, and he played to the wonder of all the auditory; and -exercising his fingers and instrument several wayes to the utmost of his -power. Wilson, thereupon, the public professor (the greatest judge of -musick that ever was) did, after his humoursome way stoope downe to -Baltzar’s feet to see whether he had a huff (hoof) on, that is to say, -to see whether he was a devil or not, because he acted beyond the parts -of man.” - -“About this time it was, that Dr. John Wilkins, warden of Wadham Coll., -the greatest curioso of his time, invited him and some of the musitians -to his lodgings in that Coll. purposely to have a consort, and to see -and heare him play. The instruments and books were carried thither, but -none could be persuaded there to play against him in consort on the -violin. - -“At length the company perceiving A. W. standing behind in a corner, -neare the dore, they haled him in among them, and play, forsooth he -must, against him. Whereupon he being not able to avoid it, took up a -violin and behaved himself as poor Troylus did against Achilles. He was -abashed at it, yet honour he got by playing with and against such a -grand master as Baltzar was.” - -“Mr. Davis Mell was accounted hitherto the best for the violin in -England, as I have before told you, but after Baltzar came into England, -and showed his most wonderful parts on that instrument, Mell was not so -admired, yet he played sweeter, was a well bred gentleman, and not given -to excessive drinking as Baltzar was.” - - * * * * * * * * - -Baltzar occupies a twofold prominence, he was one of the earliest German -performers, and the first to give any real impetus towards the -popularity of the violin in this country. He is also stated to have been -the first to introduce the practice of “shifting.” - - * * * * * * * * - -During the reign of Charles I, and also during the Cromwellian -usurpation, music was practically at a standstill. Instrumental music in -churches was prohibited, and the theatres were soon after shut up. -Indeed, as a previous historian of the art has observed, “nothing but -syllabic and unisonous psalmody was authorised or even permitted in the -Church. Organs were taken down; organists and choirmen reduced to -beggary, and the art of music, and indeed all arts but those of killing, -canting, and hypocracy, discountenanced, if not prescribed. The only -demand made for the fiddle was in the performance of low class music as -an accompaniment to the bacchanalian orgies, in favour during this -profligate period.” - -However, with the restoration of Charles II, came the restoration of -music in this country. The musical taste of this monarch having been -formed in France during his sojourn there, he was naturally anxious to -introduce the French style into this country, and as we have seen from -the writings of A. Wood, he emulated the French King, Louis XIV, by -employing a band of twenty-four violins. From this period, and with this -impetus, the epoch of violin playing in England may be said to date. - -The leader of this band of twenty-four violins was Baltzar; he was -succeeded by John Banister, who was really the first English violinist -of any note. - -Pepys, in his Diary, under date February 20, 1667, says: “They talk how -the King’s violin Banister is made. That a Frenchman (Louis Grabu) is -come to be chief of some part of the King’s music.” - -It is worthy of notice that Banister was sent abroad by Charles II in -order to study music and acquire the French taste, and so fit himself -for the leadership of the King’s band, which post, however, he soon lost -for asserting in the King’s hearing that the English violinists were -superior to those of France, which probably accounts for the note made -by Pepys in his Diary. - -Banister must have been a very enthusiastic musician, for he was the -first who publicly advertised concerts in this country. - -The following advertisement is extracted from the “London Gazette,” -under date Monday, December 30, 1672. - -“These are to give notice, that at Mr. John Bannister’s House (now -called the Music School) over against the George Tavern in White Fryers, -this present Monday, will be musick performed by excellent Masters, -beginning precisely at 4 of the Clock in the afternoon, and every -afternoon, for the future precisely at the same hour.” - - * * * * * * * * - -We have now arrived at the close of the seventeenth century, by which -time the supremacy of the violin was established not only in England, -but in all countries where culture and the fine arts march hand in hand. - - * * * * * * * * - -Before bringing this notice to a close, let us glance briefly at the -artistic activity prevailing during the early part of the eighteenth -century. - -In his workshop at Cremona would be found the great violin maker, -Antonius Stradivarius, producing those inimitable instruments which have -rendered him so famous. We find Corelli at the head of the first school -of violinists at Rome (of which he was the founder), turning out pupils -destined to shed lustre into whatever country they carried their art, -and writing those immortal sonatas, that will ever retain their high -character as examples of tonal purity, and with Boccherini, laying the -foundation of chamber music. - -In 1714 the arrival in England of Geminiani and Veracini, the great -Italian violinists, contributed to make the violin more popular as well -as to advance the practice of execution. They also supplied the -performers on that instrument with compositions far superior to any they -had possessed prior to their arrival. - -The establishment of Italian opera in England served to raise up a host -of violinists, who were not slow in availing themselves of the -facilities afforded them for studying under the great Italian masters -continually visiting this country. The result has been, that England at -the present day is able to point with pride to some of the most notable -performers on the violin, as belonging to her ranks. - - - II.—ITALY. - -In musical execution, the early schools of Italy showed a marked -superiority over the rest of Europe, particularly with regard to the -violin. - -Corelli, who was born in 1653, was the first to establish a new school -in instrumental composition, distinguished from that which preceded it -by a graceful, rhythmical and natural manner of writing. He was the -first composer who brought the violin into repute; and his originality, -facility and delicacy of style, greatly contributed to the popularity of -the violin. He was founder of the Roman, or what may now be called the -ancient school of violinists, and obtained the proud title of “Princeps -Musicorum.” After the publication of Corelli’s works, there was scarcely -a town in Italy where the violin was not cultivated and in which some -distinguished performer on that instrument did not reside. Most of his -contemporaries formed themselves on his model—as Albioni, of Venice, -Torelli, of Verona, Valentini (whose works were published in Holland), -and Marietto, who was a Neapolitan violinist attached to the household -of the Duke of Orleans. - -Tartini, born 1692, the most celebrated performer on the violin of his -day, formed all his scholars on the solos of Corelli.[4] He was the -first who observed the phenomenon of the third sound, which he did in -the year 1714, at Venice. This is the resonance of a third note when the -two upper notes of a chord are sounded; and may be distinctly heard if a -series of consecutive thirds are played on the violin, they being -perfectly in tune. - - * * * * * * * * - -Let us now briefly notice the two great Italian schools of violin -makers, which, up to the end of the seventeenth century, had been called -into existence. - -The first was the Brescian school, the founder of which was Gasparo da -Salo. This maker, as we have mentioned elsewhere, was the first to -introduce the violin in its present size and shape. The next -representative of this school was John Paul Maggini, who worked from -1600 to 1640. Other makers there were, viz., Mariani, Buddiani, Ambrosi, -Bente, Pietro Sancto Maggini (son of J. P. Maggini), but they call for -no special comment. - -The next great school was the Cremonese, founded by Andreas Amati, who -was succeeded by his sons, Antony and Hieronymus Amati, and they worked -together for some time. The most noted of this family was Nicolas Amati -(born 1596, died 1684). The Cremonese renown for violin making, however, -attained its climax in the productions of Antony Stradivarius -(1644-1737) and Joseph Guarnerius (1683-1745). The various lesser lights -who worked in these two schools will be duly noticed in the biographical -portion of this work. - - * * * * * * * * - -The music of this period falls next to be noticed. Mr. Charles Reade, in -his able articles on Cremona fiddles, which appeared in the August -numbers of the “Pall Mall Gazette” for 1872, states, “Man invents only -to supply a want.” This observation is peculiarly applicable to the -violin; for we find that with the advancement of musical composition -came the desire to attain greater perfection in the art of violin -making. This is illustrated by the fact that the performance of modern -music would be next to impossible on one of the old violins, by reason -of the then shortness of the neck; hence arises the necessity for -refitting old violins with longer necks, thus giving the performer -greater command over the high notes, and adding largely to the strength -of the instrument. - -The use of the violin in the orchestra began to receive recognition with -the dawn of the seventeenth century. Monteverde, in his opera of -“Orfeo,” printed in 1615, scores for “two little French violins” -(_piccoli violini alla Francese_). - -Without referring to the periods anterior to the seventeenth century, -concerning which we have little or no information, we know that during -the first two generations of that century, music in Italy was mostly in -the madrigal style. The capabilities of instrumental music, apart from -the voice, however, were soon discovered, and composers entered gladly -upon a new and wide field of musical effort. The compositions were -usually comprehended under the names of studies, fantasias, capricci, -sonatas, concertos and other pieces in various styles. - -Corelli has been accredited with fixing the form of the sonata, and -Torelli, his contemporary, with inventing the concerto. - -When dramatic music began to prevail under Corelli, it was scientific -and rather dry, Geminiani first enriched it by expression; but it was -under Tartini that it attained the highest degree of expression, both as -to composition and execution. Soon after this period the concerto was -greatly improved in the hands of Jarnowick and Mestrino, both of whom -were still surpassed by Viotti, who gave to this style the character -which seems so peculiarly its own and brought it to a degree of -perfection which it seems incapable of exceeding. - -These remarks apply equally to solo as to concerted music: by which term -we understand music for several voices or instruments, the parts of -which do not stand in the relation of solo and accompaniments, but are -of nearly equal importance; equally _obbligato_, either because each of -them has its appropriate part, or because each takes up the strain -successively, the others alternately becoming accompaniments. This -method is practically alike in the duet, the trio, the quartet, the -quintet, and other pieces where each instrument has its separate part. - -Boccherini was the first who, in 1768, gave to these forms a fixed -character. After him came Fiorillo, Giardini, Pugnani, and lastly, -Viotti. - -Such was the style of music, so far as the violin is concerned, from the -time of Corelli to the commencement of this century. - -Although Italy has since had to yield the palm for instrumental music to -other countries, we must not overlook the fact that for generations she -held undisputed sway in the realm of music; both as regards composers -and performers. - - - III.—FRANCE. - -We will now direct our attention to France. - -Towards the latter end of the sixteenth century the lute was a very -favourite and general instrument. About the year 1577 the violin was -introduced by Baltazarini, a then celebrated performer, who was sent at -the head of a band of performers by Marshal Brissac to Catherine de -Medicis, and was appointed valet de chambre to the Princess. Beyond this -little appears to be known of him. - -We have elsewhere had occasion to refer to the band of twenty-four -violins of Louis XIV. The leader of this band was a Florentine named -Lully, who was instrumental in introducing the Italian music into -France, thus giving to that country a new musical existence. The high -standard then prevailing in Italy, he, however, failed to maintain, but -be this as it may, the French seemed to have acquired a kind of -distinctive reputation as performers, for M. Choron says: “With respect -to the style in which the French have real and undisputed merit, and, -indeed, in many respects have a marked superiority, is the instrumental -in general, and especially that of the violin.... The excellence of the -twenty-four violins of Louis XIV formed by Lully and of other -violinists, was highly spoken of so far back as the seventeenth -century,” and he adds, “I do not, however, know how to reconcile these -facts with the following remark of Corette[5] in the preface to his -“Method of Accompaniment,” published at Paris about the year 1750. ‘At -the commencement of this century’ (says Corette) ‘music was very dull -and slow,’ etc.... When Corelli’s sonatas were first brought from Rome -(about 1715), nobody in Paris could play them. The Duke of Orleans, then -Regent, being a great amateur of music, and wishing to hear them, was -obliged to have them _sung_ by three voices. The violinists then begun -to study them, and, at the expiration of some years, three were found -who could play them. Baptiste, one of these, went to Rome to study them -under Corelli himself,” and M. Choron continuing, says: “Be this as it -may, since that period, instrumental music has been studied with ardour -by the French, and they have made astonishing progress in it. France has -now an excellent school for the violin, founded upon that of Italy.” - -It seems rather astonishing to believe that singers could be found to -sing that which took a violinist years of practice to perform, -especially in view of the fact that France at that period almost -neglected the vocal art, and we must regard Corette’s criticism as -somewhat biased, notwithstanding he was “a furious partisan of the -French school of music.” - -No doubt the French had to supply their repertoires of chamber music -(when they required it) from the Italian composers, the music of France -in Lully’s time being mostly composed for the lyric drama, which was -then greatly in vogue. - -The first to call into existence a French school was Jean Marie Leclair, -who received his instructions from Somis, an Italian. He does not, -however, appear to have formed any great performers, owing, probably, to -the European fame of the great Italian masters. According to one -historian the real founder of the French school was Pierre Gavinies, -born at Bordeaux in 1726. Be this so or not, he certainly produced some -fine masters. Indeed, during the eighteenth century, France was -productive of the finest violinists that had been heard. We have only to -mention such names as Lahousaye, Barthélémon, Rode, Kreutzer, Lafont, -Baillot, Habeneck and De Beriot, in proof of this assertion. - - * * * * * * * * - -The early records of violin making in France, like those of other -countries, seem buried in obscurity. Its literature offers but scant -information of a reliable character, and we are therefore compelled to -make the most of such evidence as is afforded by the slender testimony -of paintings and ecclesiastical monuments. - -We are told that Baltazarini was the first to introduce the violin (or -rather the performance of it) into France, in the year 1577, so that it -is safe to assume no maker of any note existed anterior to this period. -One authority tells us that, in the year 1566, the name of Tywersus of -Nancy appears as a lute and violin maker, and is reported to have -assisted Andreas Amati to finish certain instruments made for the chapel -of Charles IX. Soon after this period several names of makers are -recorded, but little seems to be known of them, or of their work. - -Excellence in violin making seems to have commenced with the middle of -the eighteenth century, when the name of Nicholas Lupot appears on the -scene as the founder of the French school. Before he died, however, in -1824, France had given birth to John Baptiste Vuillaume, in whose hands -the construction of violins attained the utmost perfection. His -instruments are much admired and often realise large sums of money. Many -makers of great merit have since cropped up, which has had the effect of -establishing France as the greatest producer of the instrument, the -subject of these pages. - - - IV.—GERMANY. - -Let us now direct our spirit of inquiry into Germany, that land of music -and musicians. This country, notwithstanding its present musical -position appears to have been somewhat behind the times in regard to the -production of any early violin performers of note, and affords the names -of fewer musicians than almost any other country during the sixteenth -century, if we except Spain. An explanation of this seems to be afforded -by the fact of the wars, which devastated Germany during the latter part -of the sixteenth and beginning of the seventeenth centuries, and -particularly the terrible Thirty Years’ war, during which five great -armies overran that unhappy country, carrying desolation and havoc in -every part of it. These wars destroyed the arts, which can only flourish -in the bosom of peace and happiness. It is certain that at this period -the school of Germany was greatly inferior to that of Italy; it even -appears that the French school began before the German to emerge from -obscurity. Reason is wanting to account for the German lack of early -performers, but we feel constrained to borrow the following words from -Dubourg. He says: “We may observe, that, although derived originally, -like all others, from that of Italy, and contracting no inconsiderable -obligations to it in its progress, it has been, on the whole, much less -indebted to the Italians for resources and support, than the school -either of France or England.” - -Although the early German performers were inferior as soloists to those -of Italy or France, they were certainly able to hold their own as -orchestral players. Be this as it may, they have certainly, in modern -times, produced some of the finest violinists the world has seen; the -music too, has long since supplanted that of Italy. - -Thomas Baltzar, born at Lubec about 1630, was esteemed the finest violin -performer of his time; but he came to England as we have seen in 1658, -and helped to rescue the violin from the low estimation in which it was -then held, an honour, however, he only lived five years to enjoy. - -It was not until the early part of the eighteenth century that any -attempts were made to establish a German violin school. Amongst the -first to diffuse any artistic influence may be mentioned Francis Benda, -1709-86, and John Stamitz, 1719-61, but the honour of founding a -distinct school must be awarded to Leopold Mozart (father of the great -W. A. Mozart) and after him came William Cramer, who ultimately came to -England; these were followed by J. Salomon and Kiesewetter. - -Louis Spohr, born 1784, may rightly be termed the founder of the modern -German school, he was both a performer and composer of the highest -order. The names of Guhr, Mayseder and Molique are also well known as -performers of great merit. - - * * * * * * * * - -Violin making in Germany commenced with the name of Jacobus Stainer, -born at Hall, near Absam, in the Tyrol, 1621, died 1683. It has been -said, though without authority, that he was an apprentice of Nicholas -Amati, a statement which would gain little credence on comparing the -instruments of each of these makers. - -The next makers in succession are the Klotz family (six in number), -1670-1741. Other makers will be found in the biographical section. - - - - - PART II. - BIOGRAPHICAL. - VIOLIN MAKERS OF THE OLD SCHOOLS. - - - I.—ITALIAN. - -ALBANI, MATTHIAS, born at Botzen in the Tyrol, 1621, died there 1673. He -adopted the Stainer model, and produced some very fine instruments. - - [Illustration: Mattio Alban fecit Bolzan. 17] - -ALBANI, MATTHIAS, son and pupil of the foregoing. He afterwards went to -Cremona to study the art in the Amati school, and afterwards adopted -that model with great success. - - [Illustration: Matthias Albanus mefecit, Bulfani in Tyroli. 1706] - -AMATI, ANDREAS, born about 1520, died about 1580. Founder of the -Cremonese school. It is conjectured that he was a pupil of Gasparo da -Salo. He adopted rather a small model, built rather high in the centre. -Backs cut on the layers, deep golden varnish, and perfect finish, are -the chief characteristics of this maker. - -The tone is sweet and sympathetic, but lacks brilliancy; they are -therefore valued more on account of their historical associations than -as a musical medium. - -AMATI, ANTONIUS and AMATI, HIERONYMUS, flourished 1570-1635. These two -were sons of Andreas. They worked together it is presumed for some time, -and produced many instruments of great beauty. The wood was well chosen -and handsomely figured. The model selected was not quite so high as that -adopted by the father. The _f_ holes are of beautiful shape, and the -backs are cut variously in the whole or slab. The purfling, which is of -exquisite quality, is inserted with the utmost skill. The tone of the -instruments made by this ancient firm is sweet and pure, but is -deficient in power. - -[Illustration: Antonius, & Hieronym. Fr. Amati Cremonen. Andrex fil. F. - _16_ - Antonius, & Hieronimus Fr. Amati Cremonen. Andrex F. 16] - -AMATI, NICOLAS, born 1596, died 1684. He was the son of Hieronymus, and -the best artist of his family. His first efforts were simply copies of -the firm last mentioned. His most celebrated fiddles are known as “Grand -Amati’s.” He somewhat flattened the model of his father, and continued -the arching nearer the sides, where it forms a sinking in round the -edges. The _f_ holes are exquisitely cut, and the corners are long and -strongly pronounced. The wood chosen for the bellies has a fine even -grain, and the backs are beautifully marked. The varnish used by Nicolas -was deeper and richer than that used by the other members of the family. - -The following is a facsimile of an authentic ticket of this great maker. - -[Illustration: Nicolaus Amatus Cremonen. Hieronymi Fil. ac Antonij Nepos - Fecit. 1677] - -BERGONZI, CARLO, Cremona, flourished 1718-47. This maker was the best -pupil of Stradivarius. He at first copied his great master, but -subsequently started a model of his own; rather broad and heavy, and -flat arching. The scroll is strongly pronounced and finely cut. The _f_ -holes, which are unusually long, are placed low in the body, and very -near the purfling. The wood is carefully selected and the general -workmanship is of superior finish; only equalled by Nicolas Amati or -Stradivarius. The varnish used by Bergonzi was reddish brown, rather -thickly applied. - - [Illustration: Anno 1733 Carlo Bergonzi fece in Cremona - Anno 17__ Reuifto e corretto da me Carlo Bergonzi in Cremona] - -BERGONZI, MICHAEL ANGELO, Cremona, 1720-60, son of Carlo, made good -instruments, but they certainly suffer on comparison with those of his -father. This maker had two sons called respectively Nicolaus, and -Zosimo, who followed the same calling from 1739-65. - - [Illustration: Nicolaus Bergonzi Cremonensis faciebat Anno 17_60_ - Fatto da me Zosimo Bergonzi F anno 17__ Cremona] - -CAPPA, GIOFREDO, an early maker who worked in Cremona about 1590 to -1640. He was a pupil of Hieronymus and Antonius Amati, when those -brothers were in partnership. In 1640 he proceeded to Piedmont and -founded the school of Saluzzio, and formed there many good pupils. Cappa -succeeded best in the manufacture of violoncellos. - - [Illustration: IOFREDVS CAPPA FECIT SALVTVS ANNO 1630] - -GAGLIANO, ALLESSANDRO, born about 1640, died at Naples in 1725. He is -said to have commenced operation in Cremona, working under Stradivarius. -His instruments are flat in model, rather large, and generally of fairly -good tone throughout. Varnish light yellow. The badly cut scrolls tend -to mar the otherwise symmetrical proportions of this maker’s -instruments. Label as follows: - - [Illustration: Alessandri Gagliano Alumnus Stradivarius fecit Neapoli - anno 1701] - -GAGLIANO, GENNARO, son of Allessandro, born about 1695, died 1750. He is -considered the best maker of the family, and his instruments are, as a -consequence, much sought after. He exercised great care in the selection -of his wood, and used a much finer varnish than either his father or -brother Nicolas. Whether or not he was a prolific maker is uncertain, -but instruments of his are rarely to be met with. - - [Illustration: Januarius Gagliano, Filius Alexandri fecit Neap. 1732.] - -GAGLIANO, NICOLAS, another son of Allessandro, was born about 1665, died -1740. He was a finer workman than his father, paying more attention to -the outward appearance of the instrument, the tone of which is -pronounced very fine in his best examples. Besides violins he made a -large number of violas and violoncellos. His tickets usually run: -“Nicolaus Gagliano filius Alexandri fecit Neap.” - -The remaining members of the family are: Ferdinando, born 1706, died -1781, eldest son of Nicolas; Guiseppe, died 1793; Giovanni, died 1806, -also sons of Nicolas; Raffael and Antonio, sons of Giovanni. Antonio -died in 1860. Label of Ferdinando: - - [Illustration: Ferdinandus Gagliano Filius Nicolai fecit Neap. 17] - -GRANCINO, PAOLO, 1665-90, was instructed by and worked under Nicolas -Amati. His instruments are of large model, light yellow varnish, large -sound-holes, negligent purfling, and carelessly finished corners. The -arching is flattish, and the scrolls coarse. The tone of his -instruments, however, possess great power and is of good quality. Other -members of the family worked in Milan. - -GRANCINO, GIOVANNI BATTISTA, a good maker of the same school, probably a -son of Paolo. Label as follows: - - [Illustration: Gia. Bapt. Grancino in Contrada Largha di Milano anno - 1695] - -GUADAGNINI, LORENZO, Placentia, 1695-1760. This maker worked for several -years with Stradivarius, whose instruments he copied with more or less -success. The wood chosen was generally of fine quality, and the -workmanship is evidence that the maker fabricated his instruments with -extreme care. The tone of a genuine Lorenzo is most brilliant in the -upper register, but somewhat weak in the lower. They are much sought -after by performers where the possession of a Cremona of the first order -is unattainable. The varnish used was a rich amber or yellowish red of -fine quality. A ticket of this maker is as follows: - - [Illustration: Lavrentius Guadagnini Pater, & alumnus Antonj Straduarj - fecit Placentie Anno 1743] - -GUADAGNINI, GIOVANNI BATTISTA, was a brother of Lorenzo. He made some -really good instruments, dividing his attention between the Stradivari -and the Amati models. Giambattista was a son of Lorenzo, and reputed -pupil of Stradivarius. He afterwards went to Piacenza and subsequently -settled in Turin. His instruments are also much prized. Guiseppe, son of -Giovanni, worked successively in Milan, Como and Parma. Other members of -the same family also made violins, but little appears to be known of -them or of their works. - - [Illustration: Joannes Baptista Guadagnini Pla-|centinus fecit - Mediolani 17_03_ {trademark: seal containing cross GBG P} - Joannes Baptista Guadagnini {trademark: cross GBG (incomplete)} - Crenionensis fecit Taurini. {missing}nnus Antoni Stradivari 17] - -GUARNERIUS, ANDREAS, born about 1626, died 1698. - -The founder of this celebrated family of violin makers was a pupil of -Nicolas Amati. His instruments are estimable for good workmanship -somewhat in the style of the Amati, although marked by certain peculiar -details, by which indeed they are recognised. His varnish is either -golden yellow or brownish red. Andreas left two sons, Peter and Joseph. - -Ticket as follows: - - [Illustration: Andreas Guarnerius fecit Cremonæ sub titulo Sanctæ - Teresiæ 16] - -GUARNERIUS, GIUSEPPE, usually called “Joseph,” son of Andreas, born -1666, died about 1739. Although he may have been a pupil of Andreas, he -has not followed his model. Some say he followed Stradivarius, whose -contemporary he was, and subsequently followed his cousin, also called -Joseph, of whom we shall speak presently. He has consequently varied -both in his patterns and in the details of manufacture; but his -instruments are of good quality and much esteemed, and are more elegant -in form than those of his father. The colour of his varnish is a -brilliant red. - -A ticket of his reads: - -[Illustration: Ioseph Guarnerius filius Andreæ fecit Cremone sub titulo - S. Teresie 17_06_] - -GUARNERIUS, JOSEPH ANTHONY, the most renowned of this family, was born -in 1683 and died about 1745; his period of activity dating from 1725. -According to M. Fétis, his father was John Baptist Guarnerius, who was a -brother of Andreas. - -He is usually known by the surname of “del Jesù,” because many of his -labels bear this device. - - [Illustration: {maltese cross} I.H.S.] - -Most authorities agree in dividing his working career into four periods. -His first attempts were not marked by any characteristic sign of -originality, except in the indifferent choice of material, form and in -the varnish. In the second period, his instruments are found to be made -with care; the wood used for the sides and back being of excellent -quality, and cut on the quarter (_sur maille_); the deal of the belly -has been well chosen; the varnish of fine complexion and elastic -quality. The pattern is small, but of beautiful outline. The arching is -slightly elevated and falls off towards the purfling in a graceful -curve. M. Fétis in his criticism of these instruments, points out an -obvious defect, namely, the too great thickness of the wood, especially -in the backs, which tends to impede the freedom of vibration, and -consequently the brilliance of sound. In the third or grand period of -his career, Joseph Guarnerius, says the same authority, presents a still -more surprising variety in the forms of his instruments. During this -period he produced instruments of large pattern, made of excellent wood -cut (_sur maille_); and conformably to the best conditions possible, in -respect to arching and degrees of thickness. A beautiful varnish of a -lovely orange shade, remarkable for its fineness and elasticity, protect -these excellent instruments, which are considered equal to the most -beautiful productions of Anthony Stradivarius. We now arrive at the -fourth period, which, it is sad to observe, forms a striking contrast to -the glorious third. Here we have evidence of a lamentable falling off. -The master seems to have worked carelessly, the wood is poor, as is the -varnish. - -Reports have been handed down to account for this apparent degeneration -of talent, but as it is impossible to verify the same, it can serve no -good purpose to here relate them. It only remains to be said, concerning -this great master, that he has built up a reputation that is not likely -to suffer by mere rumour. - -Paganini possessed one of the finest examples of a del Jesù, which was -presented to him by a M. Livron, a French merchant of Leghorn. At his -death, 27th May, 1840, Paganini bequeathed it to his native town, Genoa, -where it is preserved in a glass case in the museum. - - [Illustration: Joseph Guarnerius fecit {trademark: cross IHS} Cremonæ - anno 17__] - -GUARNERIUS, PIETRO, Cremona, eldest son of Andreas, born 1655, and lived -to an advanced age. His first productions, which are of flat model, are -dated from Cremona, but later on he established himself at Mantua, where -he manufactured a great quantity of instruments of undoubted merit, but -have the fault of too high an arching, and some there are wanting in -brilliancy of tone. His tickets usually run: - - [Illustration: Petrus Guarnerius Cremonensis fecit Mantuæ sub. tit. - Sanctæ Teresiæ 1693] - -This maker had a nephew also called Pietro, who worked at Mantua from -about 1725 to 1740, and subsequently in Venice till about 1755. He was a -pupil of his uncle, but his work is less esteemed. - -LANDOLPHUS, CARLO, Milan, 1750-1775, reputed pupil of Guarnerius. This -maker was decidedly original in his pattern. Although his instruments -are not characteristic of great beauty as regards outline, they possess -a very pleasing tone. He is one of the last of the old Italian school, -consequently his instruments are rapidly increasing in value. The most -striking point observable in his work is the extremely weak and small -scroll. He left a number of instruments unpurfled and otherwise in an -unfinished state. Those with the light red varnish are considered the -best. He also made some violoncellos of small size. Ticket: - -[Illustration: Carolus Ferdinandus Landulphus Fecit Mediolani in Via St. - Margaritae Anno 1755.] - -MAGGINI, GIOVANNI PAOLO, born 1580, died about 1640. This distinguished -maker is the second representative of the Brescian school, and reputed -pupil of Gasparo da Salo. According to recent researches, Maggini was -born in Botticino Sera, a small village not far from Brescia. - -Maggini’s instruments are in general of large pattern; their proportions -are similar to those of Gasparo da Salo, and the style of workmanship -almost identical. The swell or arching is decided, and reaches almost to -the edges. The sides or ribs are narrow; the bellies very strong and of -good quality, the backs generally thin, with the wood cut on the layers. -The varnish, which is remarkable for its delicacy, is of a yellowish -light brown colour; sometimes, however, he used a brownish red varnish. -In either case it is of excellent quality. The extended dimensions, and -the proportion of the arching relative to the various thicknesses of the -wood, impart to most of these instruments a superb, grave and melancholy -tone. - -Another characteristic of this master’s productions is found in his -ornamentation. He generally affected a double row of purfling and -various other decorations, and although Maggini was not alone in this -respect, he appears to be the last maker who relinquished the practice -of introducing any ornate addition, which, anterior to his period, was -considered so essential to the finish of an instrument. - -Maggini is credited with being the first maker who paid any real -attention to the inside of the instrument, having, it is said, -introduced the side linings and corner blocks, which have ever since -been a _sine qua non_ of construction. - -De Beriot, the great violinist, was an admirer of Maggini’s violins. - -Tickets of this celebrated maker are not dated. The following is a copy -of one: - - [Illustration: Paolo Maggini in Brescia] - -MONTAGNANA, DOMINIC, Cremona and Venice, 1700-1740. He was probably a -pupil of Nicolas Amati, whose model he at first copied, but subsequently -modified this for one of his own, of a somewhat large pattern. The -scroll is larger and more powerful than that of his reputed master and -in the sound holes he also differs. As regards the arching and outline, -the Amati type is at once apparent. The varnish is superb, and of golden -brown transparency. The wood chosen is always the very finest, and the -workmanship is all that can be desired. He also made some very fine -violoncellos. His best instruments, which are of great rarity, are dated -from Venice. - -[Illustration: Dominicus Montagnana Sub Si-|gnum Cremonæ Venetiis 1729.] - -RUGERI, FRANCESCO (Ruger or Ruggeri), Cremona, 1670-1720. This excellent -maker was a pupil and follower of Nicolas Amati (some writers say -Hieronymus). His instruments are much sought after, and, as a -consequence, are extensively copied and passed off as genuine. His -varnish is generally dark golden brown. - - [Illustration: Francesco Ruger detto il Per Cremona 16_97_] - -RUGERI, GIAM-BATTISTA, supposed to be a brother of the foregoing, pupil -of Amati, born at Cremona, 1660. He subsequently went to Brescia, where -he worked from about 1670 to the end of the century. Ticket: - -[Illustration: Io. Bap. Rogerius Bon: Nicolai Amatide Cremo-|na alumnus - Brixiæ fecit Anno Domini 16_71_] - -SALO, GASPARO DA (or Gasparo di Bertolotti), born 1542, died 1612. This -is the earliest maker of whom any reliable record is extant. He is said -to have been born at Salo in Lombardy, and afterwards to have settled in -Brescia. Gasparo is generally credited with the honour of inventing or -producing violins in their present shape. He seems to have devoted his -early period to the manufacture of lutes and viols, and subsequently to -have turned his attention to the violin, which he greatly improved, -thereby founding the Brescian school of violin makers; the earliest -known. The violins of Gasparo which have now become very scarce, do not, -it is true, exhibit that indication of finish so observable in the -instruments produced by his reputed pupil, Maggini, but his model is -excellent and the tone good, being somewhat analogous to that of the -tenor. The fact that Gasparo never dated his labels, makes it difficult -to determine with certainty the exact period of his activity. - -Facsimile label as follows: - - [Illustration: Gasparo da Salo, In Brescia.] - -SERAPHIN, SANCTUS (Santo Seraphino), 1710-1748, worked in Venice, and is -considered one of the most careful and painstaking makers of the Italian -school. His wood is beautifully figured and well selected. His purfling -is excellent, and he used a fine brilliant varnish. He usually branded -his instruments near the button. Ticket as follows: - - [Illustration: Sanctus Seraphin Utinensis Fecit Venetiis Ann. 17__ - {surrounded by decorative scrollwork}] - -STORIONI, LORENZO, Cremona, 1780-1798. The last of the old Cremonese -school. He sometimes copied Joseph “del Jesù,” at others, he followed -his own originality. His instruments exhibit great variation; notably in -the position of the sound holes, which he never placed twice alike. He -used a poor varnish which clearly indicates the change of process which -was then taking place. Although these instruments are far from being -graceful in outline or beautiful in appearance, they are capable of -producing a good tone; in fact, in Italy a good Storioni is highly -spoken of. This maker does not appear to have made many violas or -violoncellos. Ticket: - - [Illustration: Laurentius Storioni fecit Cremonæ 17_23_.] - -STRADIVARIUS, ANTONIO, the king of fiddle makers, born at Cremona, 1644, -died 1737. This great master was an apprentice in the workshop of -Nicolas Amati. At the age of twenty-three years he produced some -violins, the exact reproductions of his master, and into which it is -said he placed the labels of Nicolas. In the year 1670 he signed his -instruments with his own name. From that date, until about 1690, he -produced but few instruments, and it is conjectured, that during this -period of twenty years, his labours and researches were more in the -nature of experiments than of commercial enterprise. - -From the year 1690 the individuality of Stradivarius began to assert -itself. It was then that he began to give greater amplitude to his -model. He reduced the high arching hitherto prevailing, and determined -with much nicety the various thicknesses of wood, but he still retained -many of the chief characteristics of his master. The productions of this -period are called “Long Strads.” From 1700 to 1725 Stradivarius was in -the full lustre of his fame. During this period he made those -masterpieces known as the “Grand Pattern.” “He no longer felt his way, -but being certain of all that he did, he carried his manufacture, even -to the minutest details, to the highest possible finish, especially with -regard to the varnish, the quality of which is fine and extremely -supple.” - -“The workmanship of the interior of the instrument displays no less -perfection; all is there finished with the greatest care. The degrees of -thickness are adjusted in a rational manner, and are remarkable for a -precision which could not have been attained except by long study and -experiment. The back, the belly, and all the parts of which the -instrument is composed, are in a perfectly harmonious relation. It was, -doubtless, repeated trials and diligent observations, which also led -Stradivarius, throughout this period of his productive career, to make -the blocks and sides of his violins of willow, the specific lightness of -which surpasses that of every other wood. In short, everything had been -foreseen, calculated, and determined with certainty, in these admirable -instruments. The bar alone is too weak, in consequence of the gradual -rise in the pitch, from the beginning of the eighteenth century; the -inevitable result of which has been a considerable increase of tension, -and a much greater pressure exercised on the belly. Hence the necessity -has arisen for re-barring all the old violins and violoncellos.” Such is -Fétis’s description of this grand period. - -From 1725 to 1730, Stradivarius produced fewer instruments than he had -previously done in the same period of time. Although they are very good, -the workmanship no longer displays the same perfection. The arching -becomes more rounded, which tends to impair the clearness of the sound, -and the varnish is brown. - -After the year 1730, the master exhibits a decided falling off. -Stradivarius, in his eighty-sixth year, still, however, continued at his -bench, assisted by his two sons, Omobono and Francisco, and his pupil, -Carlo Bergonzi, who partially, if not wholly, kept the business going. -Stradivarius signed many of his instruments as having been made simply -under his direction. After the death of this great maker, many -instruments which remained unfinished in his workshop were completed by -his sons. Most of these instruments bear the father’s name. - -Stradivarius died at the great age of ninety-three years, and he was -buried in the Cathedral of Cremona. - -Facsimile of a written ticket: - - [Illustration: {handwriting}] - -Facsimile of a printed ticket: - - [Illustration: Antonius Stradiuarius Cremonensis Faciebat Anno 1719 - {trademark cross above A S}] - -STRADIVARIUS, FRANCISCO, Cremona, born 1671, died 1743. STRADIVARIUS, -OMOBONO, born 1679, died 1742. These two were sons and pupils of the -great Stradivarius, and the only members who followed their father’s -calling, with whom they worked until his death; the father during the -latter period of his life, signing the instruments “sub disciplinâ -Antonii Stradivarius.” After the death of their illustrious father, they -each worked on their own account. Francisco is reputed to have -manufactured some good violins from 1725 to 1740; his brother chiefly -occupying himself in repairing. The productions, however, of these two -brothers sink into insignificance when compared with those of their -renowned father. - - [Illustration: Franciscus Stradivarius Cremonensis Filius Antonii - faciebat Anno 1742 - Omobonus Stradiuarius figlij Antonij Cremone Fecit Anno _1740_ - {trademark a T s}] - -TECHLER, DAVID, Rome, 1680-1740. He is said by some to be a pupil of -Stainer, from the fact that he produced instruments of that type. He -first worked at Salzburg, then at Venice, and finally at Rome, where he -gained much experience. Instruments of this latter city are of the -Italian model. His work proves him to have been a careful and studious -maker. The varnish is usually deep yellow. Label: - - [Illustration: David Tecchler Liutaro Fecit Romæ Anno 1703.] - -TESTORE, CARLO GUISEPPE, Cremona. Flourished 1690-1720. He produced -instruments of good quality both as regards finish and tone; his model -being Guarnerius. His instruments are eagerly sought after by those who -desire to become possessed of a good old Italian instrument, but are -unwilling or unable to give a fancy price. These instruments are, -however, gradually rising in value. - -TESTORE, CARLO ANTONIO, Milan, 1730, and TESTORE, PAOLO ANTONIO, Milan, -1740, sons of Carlo Guiseppe. They made excellent instruments after the -model of their father, and the tone is good. Paolo frequently left his -instruments unpurfled. - - [Illustration: Carlo Antonio Testore figlio maggiore del fu Carlo - Giuseppe in Contrada lar-|ga al segno dell’ Aquila Milano 1741.] - - - II.—GERMAN AND TYROLESE. - -BACHMANN, CARL LUDWIG, of Berlin (1716-1800). This maker was one of the -most celebrated of the German school. He made his instruments rather -strong in the wood, but now that age has been at work on them, they -possess the advantage of being formed into first-class instruments by -skilful repairers. - -BENTE, MATTEO. A maker of the Brescian school, flourished about 1580. He -made some good violins, which are chiefly to be found in collections. - -BUCHSTETTER, GABRIEL DAVID, a native of Ratisbon, flourished in the -latter part of the eighteenth century. He copied the Cremonese makers -and used a brown varnish. His wood is rather coarse-grained, -consequently his instruments are not very highly esteemed. - -BUCHSTETTER, JOSEPHUS, son of Gabriel David. Made some instruments of -good quality and tone, and adopted a flat model. - -EBERLE, ULRIC, of Prague, about 1750, an eminent German maker, whose -instruments at one time were considered nearly equal to the best Italian -makers. - -HELMER, CHARLES (CAROLUS), of Prague, a pupil of Eberle. He made some -very fine instruments. Otto says: “They have, however, the fault that -the three upper strings improve greatly by being played on, but the G -string, in most of them, remains so far inferior, that while the tone of -the former is such as may be expected from a full sized violin, that of -the latter only resembles a child’s toy-instrument. Yet an experienced -maker would find no difficulty in correcting this fault.” - -HOFFMANN, MARTIN, one of the earliest representatives of the German -school, flourished in Leipzig in the latter part of the seventeenth -century. He was better known as a lute-maker. He made violins possessing -excellent tone, but they do not find much favour by reason of their -ungainly appearance. - -JAUCH (or JAUG), of Dresden, early part of eighteenth century. The best -description of this maker’s instruments is that contained in Otto’s -treatise. “Jauch,” he says, “has manufactured very good violins on the -model of the Cremonese, and displayed, in his beautiful and excellent -workmanship, a thorough knowledge of the wood, and of the due -proportions of strength required in the respective parts of the -instrument. But his violins produce a very weak squally tone, when they -have been carelessly repaired; though even in this case they may be -often restored and brought nearly to equal the Italian, by placing them -in the hands of an experienced maker, possessing a knowledge of -mathematics and acoustics, without which they will be completely -spoiled.” - -KLOTZ FAMILY. This group represent well-nigh a century of activity, -i.e., from about 1670 to about 1760. - -KLOTZ, EGIDIUS. Born in Mittenwald. When young he quitted his native -village and placed himself under Stainer at Absam. Having learnt the art -under this celebrated maker, he returned to his native place and set up -in business on his own account, and soon gained considerable renown as a -maker of superior instruments, so much so that his productions for some -time almost eclipsed those of his master. Even now a sound -specimen—which is rarely seen, is not lightly passed over. His -instruments possess a fine and powerful tone. - -KLOTZ, MATHIAS, 1653-1745. Worked for about twenty years in Mittenwald, -during which period he produced instruments of an unsatisfactory nature. -He appears to have been aware of this, and with the object of increasing -his knowledge, he undertook a journey to Florence and Cremona and other -centres of violin industry. With his newly-acquired experience he -returned to his native place and established himself in rather a large -way. - -KLOTZ, SEBASTIAN, son of Mathias (1700-1760). The instruments of this -maker are a decided improvement, both as regards pattern and tone. He -adopted a somewhat flat model and coated his instruments with a superior -varnish to that previously used by the family. His instruments are -highly valued. - - [Illustration: Sebastian Kloz, in Mittenwald.] - -With regard to the other members of the family, great confusion exists -in the minds of writers as to how they stood in point of relationship -one with the other. In name they are: George (1723-1797), Joseph -(1730-1760), Joan Carol (about 1780), Michael (about the same period). - -Spurious instruments bearing the name of Klotz or Clotz flood the -market, and the uninitiated should regard them with grave suspicion, -unless or until the advice of a competent expert has been obtained as to -their genuineness or otherwise. - -RAUCH, THOMAS, of Breslau. Made some very good violins in the early part -of the eighteenth century. He worked on an original model, and made -instruments noted for their powerful tone. - -RUPPERT, of Erfurt, a maker who worked on an extremely original model. -He made all his instruments very flat in model, and dispensed with the -side linings and corner blocks, and omitted the purfling. The front and -back tables were, however, made with due regard to thicknesses, which -redeemed them somewhat from the defects above mentioned. The instruments -possess a good tone and fine examples are highly priced. - -SCHEINLEIN, MATTHIAS FREDERICK, of Langenfeld (1730-1771). Made fine -instruments which, in his time, were in great demand. He made them too -weak, consequently many of them are now practically spoiled by -subsequent repairing. - -STAINER, JACOBUS, born at Hall, near Absam—a short distance from -Innsbruck—July 14, 1621, died at Absam, 1683. This maker is the most -renowned of the German school, concerning whose early career the -following account has been handed down. A priest residing in the -district of Absam took a fancy to young Jacob, and had him sent to -Innsbruck to learn the art of organ building under one Daniel Herz. This -calling not suiting the youth’s inclinations, his master advised him to -learn the art of violin making. Stainer then went to Cremona, and placed -himself under Nicolas Amati, who soon recognised the talent of his young -pupil, and took great pains in instructing him in the secrets of the -art. He then quitted Cremona, and for a short time worked in Venice -under Vermercati, who at that time was a maker of some merit. With an -accumulation of experience gained in the best schools of the time, -Stainer finally returned to Absam and settled there as a maker of -violins on his own account. In the year 1645 he married a Margaretha -Holzhammer, by whom he had several children. His renown as a violin -maker rapidly increased, but for some reason or other he found it -difficult to provide for the wants of himself and family, and he was -compelled to travel about the country in order to dispose of his -instruments. However, in 1658, he was appointed court violin maker to -the Archduke Leopold, and in 1669 received the distinction of “Maker to -the Emperor”; but all these advantages and honours contributed but -little to raise him from his chronic state of poverty. He now began to -experience some bitter reverses. A certain creditor of his, named -Solomon Heubnar, with whom he at one time lived (Stainer left him -without paying for his board) lodged an information against him charging -him with the crime of heresy. He was seized and thrown into prison, and -remained there six months, at the expiration of which he found himself -utterly ruined and poverty stared him in the face. He was then -persecuted by Count Albert Fugger for certain dues which it was -customary to levy on court tradesmen. Stainer petitioned the Emperor to -waive this claim, but to no purpose, his supplication being ignored, it -is thought, in consequence of his previous conviction for the alleged -heresy. Stainer then fell into a state of abject misery, neglected his -work, and finally died out of mind. It will therefore be seen that this -renowned maker worked under most distressing conditions, and it is a -marvel that he was able to produce anything worthy of subsequent -copying. Stainer’s house is still pointed out, and, it is said, the -bench to which he was bound when mad. - -Another story which has gained currency in some quarters, but in others -said to be mythical, recounts that at the latter period of his life he -abandoned his calling and became an inmate of a Benedictine monastery. -Here, with the assistance of a brother monk, he contrived to get -together sufficient materials for the manufacture of sixteen violins of -great beauty. These apparently fabulous fiddles are known as the -“Elector” Stainers from the circumstance that each Elector was supposed -to be the recipient of one of these instruments, the remaining going to -the Emperor of Germany. For information concerning the instruments made -by this unfortunate fiddle maker, the best is that contained in the -treatise of Jacob Augustus Otto, maker to the Court of the Archduke of -Weimar, translated from the German by Thomas Fardely, of Leeds (1833), -and since then by the late Mr. Bishop, of Cheltenham (William Reeves, -London). - -Otto says: “The instruments made by Jacob Stainer differ from the -Cremonese both in outward shape and in tone. They are higher modelled, -and their proportions of strength are calculated quite differently. The -nearest comparison which can be drawn between a Cremonese and a Stainer -is this: a Cremonese has a strong reedy, sonorous tone something similar -to that of a clarionet, while a Stainer approaches to that of a flute. -The belly is modelled higher than the back. The highest part of the -model under the bridge extends exactly one half of the instrument -towards the lower broad part and then diminishes towards the end edge. -It decreases in a like manner at the upper broad part towards the neck. -The breadth of this model is uniformly the same as that of the bridge, -from which it diminishes towards the side edge. The edges are very -strong and round. The purfling lies somewhat nearer to the edges than in -the Cremonese, and is likewise narrower than in the latter (the -Cremonese) in which it is very broad. The _f_ holes in Stainer -instruments are very beautifully cut, and the upper and under turns are -perfectly circular. In length they are somewhat shorter than the -Cremonese. The neck is particularly handsome, and the scroll is as round -and smooth as if it had been turned. Some few have lions’ heads, which -are extremely well carved. The sides and the back are made of the finest -figured maple and covered with a deep yellow amber varnish. In some the -screw (peg) box is varnished dark brown and the belly deep yellow. The -above are the most accurate marks by which the genuine Stainer -instruments may be distinguished. They are rarely to be found with any -labels inside, but in the few which are to be met with of the genuine -instruments bearing any inscription, they are simply written, not -printed. In the Tyrolese imitations of Stainers they are all printed. In -the genuine Cremonese instruments they are likewise invariably printed.” - -Genuine Stainers with labels have this written inscription: “Jacobus -Stainer in Absam prope Œnipontum h-fis 165-.” The following is a -facsimile: - - [Illustration: Jacobus Stainer in Absam prope Œnipontum h-fis ’65] - - - III.—FRENCH. - -BOQUAY, JACQUES. Paris, about 1700-1735. One of the earliest of the old -French school. Under whom he learnt the art of violin making is not -known, but his instruments, as also those of his contemporaries, clearly -indicate that the Italian influence was suffusing itself in no uncertain -manner. It appears that about the middle of the sixteenth century, one -Nicolas Rénault, a French viol and lute maker, travelled into Italy and -became associated with Andreas Amati, and even assisted that maker in -the manufacture of certain instruments for the chapel of Charles IX, in -1566, and, after a somewhat lengthened stay in Italy, he returned to -France the gainer of considerable experience. Here, perhaps, may be the -explanation why Boquay and the rest of the early French school -principally adhered to the Amati model. Later on Boquay sought to become -original, notably with regard to the sound holes and the scroll. The -tone is sweet, but lacks power. - - [Illustration: JACQUES BOQUAY RUE D ARGENTEUIL A PARIS, 17] - -COMBLE, AMBROISE DE, Tourney, Belgium (1730-1760). The best maker of the -old French school, and reputed pupil of Stradivarius. Although the -instruments of de Comble cannot be said to be on the model adopted by -the great Cremonese maker during his best period, there is nevertheless -some indication to lead to the belief that he endeavoured to follow the -renowned artist in the matter of varnish. In this respect he was fairly -successful. His instruments are rather flat and of large pattern, -somewhat on the lines of Stradivarius’s later productions, and although -they are not characteristic of refined workmanship, the material chosen -was of the best quality. He made his instruments strong in the wood, -consequently they possess a very full and rich tone. De Comble also made -some excellent violoncellos. - -LUPOT, NICOLAS, born at Stuttgart, 1758, died in Paris, 1824, founder of -the modern school of violin making. His father, also a maker of some -merit, removed to Orléans in the year 1770, and in this town instructed -his son in the art which was destined to make his name famous. During -his pupilage Nicolas set himself to study the instruments of the great -Italian makers, especially those of Stradivarius, and in the result he -elected to adopt the model of this master, from which he seldom, if -ever, departed. With such diligence and enthusiasm did he labour to -produce something akin to his ideal that he soon was able to turn out an -instrument that suffered but little on comparison with the Italians of -the first water. Thus a most beneficial influence in the art of violin -making became propagated. In 1798 Nicolas quitted Orléans for Paris and -established himself in business, and there for twenty-six years he -carried on a labour of love which, as well, produced considerable -pecuniary benefits. Lupot had not been long in Paris before his work -claimed the attention of the Conservatoire, then but recently formed, -and he was accordingly appointed violin maker to that excellent -institution: he was similarly appointed to the Chapel Royal. It is not -difficult to imagine that Lupot endeavoured to revive the lost art of -making the old Italian varnish, judging from the various qualities with -which he was wont to cover his instruments. In this respect, however, he -cannot be said to have been successful, but what he did use ranks high -as a modern varnish. The instruments of this maker are highly prized, -especially those made between 1805 and 1824. An impetus was probably -given to the value of Lupot’s violins from the circumstance that the -celebrated Spohr played for a long time on a Lupot, the tone of which he -declared was “full and powerful”; in fact, the great virtuoso only -parted with this instrument on becoming possessed of a Strad. Lupot -appears to have been almost as uncertain about his labels as he was -concerning his varnish. At Orléans he adopted a Latinised inscription, -and in Paris, three labels have been noticed variously worded. The -following are copies of some labels: - -N. Lupot fils, Luthier, rue d’Illiers, à Orléans, l’an 17—. - -Nicholas Lupot, Luthier, rue de Grammont, à Paris, l’an 17—. - -Nicholas Lupot, rue Croix des petits champs, à Paris, l’an 1817. - -Nicholas had a brother named François, who became celebrated as a maker -of bows. - -VUILLAUME, JOHN BAPTISTE, born at Mirecourt, October 7, 1798, died -February 19, 1875; the greatest violin maker and copier of modern times. -It is not precisely known under whom he received his first instruction -in the art of violin making. Some say his father, one Claude Vuillaume, -born at Mirecourt in 1771, died 1834, whilst others maintain that the -father was not a fiddle maker, but a carrier between Mirecourt and -Nancy. At all events, at the age of nineteen, he was engaged by François -Chanot, a violin maker of repute, who had just about that period -established a workshop for the manufacture of a new-shaped violin, which -had been patented, so it is not unlikely that François Chanot was his -first real master. He next engaged himself with one Lété, an organ -builder, who dealt in violins, and ultimately became a partner in the -concern. In 1828 he parted from Lété and continued in business alone. -During this period he found great difficulty in disposing of his -instruments; the rage being for those of Italian manufacture. He -thereupon took to fabricating copies of the old masters, and his -operations in this line appear to have been attended with great success. -As a large number of old instruments, Italian and others, passed through -his hands for repair, Vuillaume had ample opportunity afforded him for -studying and ascertaining the inward and outward conditions necessary -for the production of good tone, and this advantage he was not slow to -avail himself of. Fortified with a vast amount of experience, combined -with much knowledge gained by experiment, Vuillaume was in course of -time enabled to produce an instrument in all but one point equal to the -greatest Italian masters, the condition wanting being that of age. In -some cases, possibly through stress of trade, Vuillaume endeavoured to -supply this deficiency by giving to his instruments an appearance of -wear and long usage. In his latter years, however, he relinquished this -pernicious practice. The climax of his skill as a copyist was reached on -the occasion when he reproduced a facsimile of Paganini’s famous -Guarnerius, entrusted for repair. This copy was so marvellous in its -similarity with the original, both as regards appearance and tone, that -the great virtuoso himself failed to recognise his own instrument, and -Vuillaume had to point it out to him. In addition to his high -capabilities as a violin maker, Vuillaume was renowned as a bow maker, -and effected some improvements in that important adjunct, and on the -whole proved himself a genius of uncommon order. - - [Illustration: Jean Baptiste Vuillaume à Paris Rue Croix des Petite - Champs {trademark: double circle containing cross over BV}] - - - IV.—BRITISH. - -WILLIAM ADDISON—THOMAS COLE—EDWARD PAMPHILON—PEMBERTON—THOMAS -URQUHART—CHRISTOPHER WISE. - -This group represents the early English school and the principal makers -existing during the seventeenth century. It may reasonably be inferred -that they were more at home with the viol than with the violin as known -to-day. Little can be said concerning their early productions, as they -are now all but extinct; a great portion of them probably perished in -the great fire of London in 1666, in which city some of them were -supposed to have worked. - -Christopher Wise is said to have made some fairly good instruments of a -highly decorative nature. - -Jacob Rayman was the better artist, and some instruments attributed to -him reflect great credit on this early school. - -Thomas Urquhart was a still further advance, his outline and varnish -places him in the front rank of the period. - -Edward Pamphilon made instruments of a very tubby appearance, but they -are said to possess a clear and penetrating tone; age, too, has imparted -a very rich colouring to the varnish. - -Several other names have been handed down, but as they are minus the -instruments, nothing of importance can be said on the subject. - -Aldred and Bolles are mentioned in Mace’s “Musick’s Monument.” - -ADDISON, WILLIAM, was a maker of viols and early violins in the middle -of the seventeenth century. He worked in Moorfields, London. - -AIRETON, EDMUND. A London maker about the middle of the eighteenth -century. He copied successively the instruments of Stainer, Amati and -Stradivarius, but those on the Amati model are most admired. - -BANKS FAMILY. They rank among the best makers of English violins, and -genuine specimens are eagerly sought after and realise good prices. - -BANKS, BENJAMIN. Born July 14, 1727, died February 18, 1795. Accounts -differ as to the place of his birth, but as his parents were living in -Salisbury in the year 1725, it is generally supposed he was born in that -town. - -Banks has been justly termed “the English Amati,” and this comparison is -well deserved. His fiddles are faithful copies of the great Italian, -both as to model and varnish. These instruments are, however, very rare, -and fiddles of this model offered as genuine Benjamins should only be -purchased with the advice of experts. - -Benjamin also made instruments for the then well-known music-firm of -Longman and Broderip in London. These were made on a different model, -somewhat after the Stainer model, and they are greatly inferior to his -favourite Amati fiddles, the finish and varnish indicate hurry and -carelessness. These fiddles are labelled with the name of the firm for -whom he worked. I have seen many fiddles bearing the name of Longman and -Broderip and said to have been made by Benjamin Banks. The majority of -them are, however, spurious. It has been the custom of many dealers to -cut off the name of Longman and Broderip from the bottom of the -published music of that firm and insert these in fiddles, and as -Benjamin Banks was known to have worked for them, some show of -genuineness is thereby implied. - -Banks made a number of violas and violoncellos. The latter instruments -stand pre-eminent for workmanship and tone and are particularly well -adapted for the performance of solo and chamber music. This maker -adopted a variety of methods for stamping and otherwise labelling his -instruments. Below the button was the favourite place. - -The labels mostly seen are: - -Made by Benjamin Banks, Catherine Street, Salisbury. - -Benjamin Banks, fecit Salisbury. - -Benjamin Banks, Musical Instrument Maker, In Catherine Street, -Salisbury. - -B. Banks, Sarum. “B. B.” stamped under the button. - -The varnish used by Banks varied from a deep red to a yellow brown. - -One word of advice, beware of the unredeemed pledge. - -BANKS, BENJAMIN. Son of the preceding; born at Salisbury, 1754, died in -Liverpool, 1820. He worked at first for his renowned father, afterwards -removing to London, where, possibly, he assisted in making the Longman -and Broderip instruments. He then went to Liverpool and worked there -until his death. Very little is known of him or his works, though it is -possible that many of his instruments have been passed off as the work -of his father. - -BANKS, JAMES and HENRY, two other sons of the great Benjamin, and -successors to the business at Salisbury, where they were both born, -James about 1756, died 1831; Henry, 1770, died 1830. - -James was the violin maker of the concern, while Henry devoted himself -to tuning pianofortes and repairing instruments. Sometimes, however, -they collaborated in the production of violins and violoncellos. They -also extended the sphere of their operations to music selling and dealt -in other musical instruments. The fame of the Banks family as violin -makers declined at this period. - -BARRETT, JOHN. A London maker, who worked about 1725. He made some good -instruments which are dated from the Harp and Crown in Piccadilly. He -followed the Stainer model. His varnish is unsatisfactory. - -BETTS, JOHN, London, born at Stamford in 1755, died 1823. This excellent -maker was a pupil of Duke, and adopted the Amati model. He was not -himself a prolific maker, his time being principally occupied in the -study of old Italian instruments, the result of which enabled him to -become a very successful dealer and connoisseur. Betts, or “old John,” -as he was most commonly called, carried on an extensive business in the -construction of violins, and employed in his workshop such men as John -Carter, Edward Betts, Panormo, Bernhard Fendt, all of whom subsequently -succeeded in making good instruments on their own account. Betts’s shop -was No. 2 near Northgate of the Royal Exchange, and after his death the -business was continued by his descendants till within a few years ago. - -DUKE, RICHARD, London, about 1765-1791. Probably no violin of English -make has attained such popularity as have the instruments of this maker, -hence it is that he is so extensively imitated. Who instructed him in -the art of making violins, etc., is not positively known, but his -instruments are of the highest order in all respects but the varnish, in -which he was not always successful. Duke followed both the Stainer and -Amati models, the latter being his best. His violoncellos are rather -high in model, long in pattern, yellowish varnish and rich in tone. For -his violins he used a dull brown varnish, very elastic and transparent. -During a considerable period Duke worked in the vicinity of Holborn. -Many of his instruments are stamped near the button “Duke, London.” - -Labels, mostly written in pen and ink, are as follows: - -Richd. Duke, Londini, fecit 1767. - -Richard Duke, Maker, Holborn, London, Anno 1777. - -The following is a copy of a printed one: - -“Richard Duke, Maker, near opposite Great Turn-Stile, Holbourn, London.” - -FENDT, BERNHARD, born at Inspruck, in the Tyrol, in 1756, died in London -in 1832. He was at first instructed in the art of violin making by his -uncle in Paris, who spelt his name Fent, a maker there of some -reputation. Bernhard then came to London and entered the service of -Thomas Dodd, the bow maker, and remained with him several years, working -in conjunction with John Frederick Lott. They were never entrusted to -carry their work beyond the white, and the instruments turned out by -this pair were delivered to their master, who applied the varnish with -his own hand, the secret of which he kept carefully to himself. - -FORSTER, WILLIAM, known as “Old” Forster, born at Brampton, Cumberland, -May, 1739, died in London, December 14, 1808. The name of Forster in -connection with violin making includes a family whose operation extended -over a very considerable period, but the artist under notice was _the_ -fiddle maker of the group, and his instruments to-day reflect great -credit on the British school of a century ago; indeed his instruments, -whether they be violins, violas or violoncellos, are pre-eminent amongst -the productions of this country. His father pursued two occupations, -viz., that of spinning-wheel maker and violin maker and repairer; -instructions in which handicrafts were duly imparted to the son, who -also became tolerably proficient as a violinist. In consequence of some -family differences, the young man quitted his native village and -proceeded to London, arriving there in 1759. His first endeavours in the -metropolis were unsuccessful, and he was forced to accept some -employment offered him by a gun-stock maker. However, he did not forsake -the art he loved, and his spare time was occupied in making violins, -which he disposed of to the music shops. During this time he suffered -great hardship and privation, the effects of which were never afterwards -entirely eradicated. At length he obtained employment as a violin maker -at a music shop on Tower Hill kept by one Beck, and the violins he made -during his two years’ engagement there, gaining much recognition, he not -unnaturally demanded an advance in wages. This was refused, and Forster -consequently left him. In 1762 he commenced business on his own account -at a house in Duke’s Court, and there his artistic abilities procured -for him the attention and patronage of the musical dilettanti. He then -moved into St. Martin’s Lane, and added music publishing and selling to -his business, and at this period he was wont to cut his name from the -title-pages of his soiled or unsold music and use it as a ticket for his -instruments. In 1781 he entered into negotiations with Haydn for the -supply and publication of certain pieces of music for the string family, -which resulted, it would appear, in a great success all round. About -1784, Forster opened in the Strand—No. 348, and here the climax of his -success was attained, even to the extent of receiving Royal patronage. -From the year 1762 to 1770 he adopted the Stainer model, and applied to -his instruments some sort of dark stain, completing the operation with a -coat of varnish. From 1770 or thereabouts he affected the Amati pattern -with greater success, and this refers particularly to his violoncellos, -as they are really grand instruments, better varnish is used and greater -attention is paid to detail. Robert Lindley, the famous violoncellist, -used one of Forster’s instruments at the Italian Opera for nearly forty -years; he named it “The Eclipse.” Crossdill had a famous one, and -Cervette the younger had another. Only four double basses are known to -have been made by William Forster. His commoner instruments are devoid -of purfling. Ticket: “William Forster. Violin Maker in St. Martin’s -Lane, London.” - -FORSTER, WILLIAM, son of “Old” Forster. Born 1764, died 1824. He was a -violin maker and repairer of some merit, but never attained the -reputation of his father. He left his instruments unpurfled. - -KENNEDY, ALEXANDER, came from Scotland about 1700 and established -himself in London, He was a painstaking workman, and gained a good -reputation. He followed the Stainer model and used a light amber -varnish. - -KENNEDY, JOHN, nephew and pupil of the foregoing, followed the same -model, and produced some good violins and tenors. - -KENNEDY, THOMAS, the best known of the family. He made a large number of -violins and ’cellos. - -NORMAN, BARAK (1688-1740). He was chiefly a maker of viols, but has made -violas and violoncellos, and a few violins on the Stainer model; his -best productions being copies of Maggini. He was probably a pupil of -Urquhart, if one may judge from their respective works. As a maker of -viols he was much esteemed in his day; all his instruments of this class -indicate careful workmanship. As no British violoncello has been -discovered anterior to those manufactured by Norman, it is thought that -he may have been the first maker of that instrument in this country. -They are splendid instruments and much valued. His violas also are fine -specimens, and consequently highly prized by performers on that -instrument. Between the years 1715 and 1720 Barak Norman entered into -partnership with one Nathaniel Cross, at the sign of the “Bass Viol,” -St. Paul’s Churchyard. Barak resorted to various methods in order to -distinguish his instruments, sometimes his monogram is purfled in the -centre of the back, and occasionally, in the case of violoncellos, on -the top table under the wide part of the finger-board. When he became -associated with Cross, the joint monogram was used. The following is a -copy of a printed label used by the firm: - -“Barak Norman and Nathaniel Cross, at the Bass Viol in St. Paul’s -Churchyard, London, fecit 172—.” - -WAMSLEY, PETER, London (1727-1760). He was at one time considered a -clever maker of violas and violoncellos, but having resorted to the -unfortunate practice of thinning the wood in his endeavour to secure a -freer tone, his instruments at the present day lack power and sonority. -They are, however, capable of great improvement in the hands of a -skilful repairer. He adopted the Stainer model, and at times proved -himself to be a first-class workman. Most of his instruments have only -ink lines instead of purfling. Wamsley made a few double basses, but -they are now very scarce. The best instruments of this maker are those -covered with a dark brown varnish. For a great number of years Wamsley -carried on business in Piccadilly, and used labels, copies of which are -as follows: - -Made by Peter Wamsley at the Harp and Hautboy in Pickadilly, 1735. - -Peter Wamsley Maker at the Harp and Hautboy in Piccadilly, 17 London 51. - - [Illustration: _Made by_ Peter Wamsley _at ye_ GoldenHarp _in - Pickadilly London,_] - - - - - PART III. -ON THE DEVELOPMENT OF CLASSICAL MUSIC FOR THE VIOLIN AND OTHER STRINGED - INSTRUMENTS. - - -The term “classical” as applied to music is a composition against which -the destroying hand of time has proved powerless (Riemann), in other -words, works which have been handed down to us by the old composers, and -which at the present day are recognised as models of purity in musical -art, are now considered as classical compositions. - -Coeval with that remarkable epoch when the violin assumed its present -admirable and unalterable form, which culminated with the closing year -of the sixteenth century, is the dawn of musical composition for the -instrument, and the musicians of the time vied with each other in -producing works calculated to raise the violin from its hitherto -subordinate rank as a mere accompanist to its proper position as a solo -instrument, thereby ensuring prominence and with it rapid popularity. - -It is to Italy that we have to turn for any certain knowledge of the -earliest classics, and the first to claim our attention is Arcangelo -Corelli (1655-1713). He was not only the founder of the Roman school, -the earliest known, but probably the first to definitely fix the form of -the sonata. In those times two kinds of sonatas were recognised, called -respectively, _sonate da camera_, i.e., chamber sonata, and _sonata da -chiesa_, or church sonata. The first-named consisted of a series of -dance measures (allemande, courante, saraband, gigues, etc.), -systematically arranged, whilst the latter was a subject treated in -fugal and other learned styles, and otherwise rendered more in keeping -with the dignity of the place in which such compositions were performed. -In the time of Corelli, the sonata usually commenced with an _adagio_, -and after two or three other movements finished with an _allegro_ or -_presto_. - -Corelli as a composer showed a great partiality for this class of music, -and his compositions rapidly spread throughout the length and breadth of -Europe. Tartini caused all his pupils to study the works of Corelli. -There is not, it is true, evidence of a great amount of musical -erudition, but what has conferred a remarkable longevity on his works is -his melodic simplicity and pure harmony. His works are forty-eight -sonatas for two violins and bass (Op. 1-4), produced 1683-94; twelve -sonatas for violin and bass (Op. 5), 1700; twelve “concerti-grossi,” for -two violins and ’cello as principal instruments, and two violins, viola -and bass as accompanying instruments. - -Such a gifted musician as Corelli was not likely to quit this life -without leaving the impress of his artistic feelings upon those who -sought his instruction, and we have ample proof of the great influence -he exerted in the names of G. B. Somis (1676-1763) F. Geminiani -(1680-1762), and Locatelli (1693-1764). Somis was a close follower of -his master, and it is quite easy to believe this on a comparison of -their respective sonatas. Geminiani asserted more of his individuality, -and this, coupled with the fact of his having received theoretical -instruction from Alessandro Scarlatti, one of the most learned musicians -of the day, no doubt contributed to his making a decided advance on the -violin music of the time. Notwithstanding his increased knowledge as a -theorist, and his greater ability as an executant, Geminiani laboured -long to bring into prominence and popularity the artistic conceptions of -his renowned violin master. His first effort in this direction was made -in 1726 (Geminiani being then in London), when he formed Corelli’s first -six solos into concertos, a style of composition then recently called -into existence, shortly afterwards treating another six in a similar -manner. Others underwent the same process, but to these were added -additional parts. Geminiani was one of the first in the field of musical -expression, even sacrificing strict time to obtain it. - -Locatelli furnishes us with another example, not only of the advance of -technique, but of the progress of musical culture. His works called “The -Labyrinth,” “The New Art of Modulation” and “Harmonic Contrasts” are -alone sufficient to establish him as a great reformer in the musical -world of his time. As we have elsewhere observed, Torelli is credited -with having fixed the form of the concerto, and a few lesser lights, -such as the two Veracinis and Alberti, live to this day by their works. -The next master whose influence marked another step in the development -of classical music for the violin was Guiseppe Tartini (1692-1770). Here -we have a man destined for all time to stand out as one of the most -indefatigable pioneers of the violin. In his quadruple capacity as a -performer, composer, theorist and teacher, his influence was -far-reaching, and, what is more, it has been transmitted down to the -present time. As a composer, his style of modulation was a new thing, -and his performance came as a revelation to those who heard him for the -first time. His “Devil’s Sonata” is well-known to all violinists. - -We now arrive at a name which brings us in touch with other members of -the fiddle family. Luigi Boccherini (1740-1806), who is justly -considered the father of chamber music for stringed instruments. It was -he who, in 1768, gave definition to the form of the trio, the quartet -and the quintet; forms which have served for the models of all -subsequent composers. In the trio he was followed by Fiorillo, Cramer, -Giardini, Pugnani and Viotti, and in the quartet by Mozart. His other -styles were elaborated by Haydn and Beethoven. Boccherini was a prolific -composer. - -Three names should here be mentioned in connection with the concerto, in -whose hands it underwent great improvement. They are Pugnani -(1728-1798), Jarnowick (1745-1804), and Mestrino (1750-1790). - -The next and last great representative of the Italian school, and one -who largely influenced the French school, was Giovanni Battista Viotti -(1755-1824), a pupil of Pugnani. The name of Viotti stands out with -peculiar lustre, in that with him the concerto arrived at a degree of -perfection hardly capable of being exceeded. The same may be said of his -trios and duos, both of which should be studied and cultivated by every -young violin aspirant. In Viotti the Italians have certainly produced a -fitting tailpiece to a long line of brilliant composers for the violin, -a line in which no artistic hiatus appears from the time of Corelli. - - * * * * * * * * - -The first to establish a French school was Jean Marie Leclair -(1679-1764). Although he received his instructions from Somis, the -Italian, and became thoroughly imbued with Italian tastes and ideas, he -laboured incessantly, on his return to France, with the object of -establishing a distinct school for his country, and in many respects he -was successful. In 1723 he published a series of solos, and soon -afterwards six sonatas for two violins and bass; also duos, trios and -concertos. - -The next to claim attention among the French classical composers is -Pierre Gavinies (1728-1800). He was the first professor at the Paris -Conservatoire, then but recently formed, and the compositions he -contributed testify to considerable musical culture: they are of great -difficulty, and are, for the most parts, sonatas and concertos. - -We now introduce three names who greatly elaborated the forms fixed by -the Italians, Rode (1774-1830), Kreutzer (1766-1831) and Baillot -(1771-1842). This almost inseparable trio are so well known to the -student, that a lengthy comment would be superfluous. They were all in -turn professors at the Paris Conservatoire, and the joint production of -their great method for the violin, coupled with their other educational -works, place them as prominent classical writers. Rode is known by his -concertos, caprices and airs with variations. Kreutzer’s forty studies -are a household word with the earnest student, not to mention his -concertos, duets, trios and quartets; and the same may be said with -regard to Baillot’s concertos, variations, and a host of other pieces. - - * * * * * * * * - -We now pass on to consider shortly what the Germans have handed down. -Like other countries, they have been largely indebted to the Italians; -and, in this connection, it is curious to note that with the rise of -music in Germany we find a gradual decadence of the art in Italy. - -In Germany we have to look to the great composers rather than the great -violinists for the most important classical works for the violin. - -It is unnecessary to notice anything anterior to the time of the great -J. S. Bach (1685-1750); in fact, very little took place in the nature of -published works. - -That Bach possessed a sound perception of the capabilities and resources -of the violin is amply demonstrated in all his writings for that -instrument. His acquaintance with the finger-board is only excelled by -his knowledge of the keyboard. Amongst the almost innumerable works of -this greatest musical classic that has ever lived, I would mention his -three partitas and three sonatas for violin (without accompaniment). The -Chaconne in the D minor Partita is a remarkable instance of Bach’s -immense powers of perception. - -The first real founder of a German school was Leopold Mozart -(1719-1787), father of the great W. A. Mozart. He is not known by his -instrumental compositions, but his claim to notice exists in the -production of his “Method” for the violin, a work which not only -survived several editions, but assumed the garb of several languages. - -The next to call for notice is Joseph Haydn (1732-1809), a most prolific -composer, especially for the string family. Attached to the service of -Prince Esterhazy, a patron immensely rich and passionately fond of -music, Haydn enjoyed a combination of circumstances all concurring to -give opportunity for the display of his genius. It has been vouchsafed -to few musicians to pursue their art under such favourable conditions as -Haydn. He did not compose to please either publisher or the public. So -long as his patron was satisfied with his productions, things went on -merrily with him. - -Let us see what Haydn did for the instrument he loved so much. Here they -are—eighty-three quartets, three concertos, twenty-one trios for two -violins and bass, six violin solos. - -No review, however short, could lay claim to completeness without -mention of the following—viz., Mozart, Weber and Beethoven. To this -noble trio violinists owe much. It is, of course, quite beyond the -province of this work to even enumerate the many compositions from the -pens of these immortal musicians in which the violin took part, but I -would call attention to Beethoven’s glorious Concerto in D, Op. 61, and -his two lovely Romances in G and F respectively. - -Another great German musician who exercised considerable influence on -compositions of classic mould was Louis Spohr (1784-1859). His great -fame as a composer, combined with his reputation as a violin virtuoso of -the highest order, places him in a conspicuous position in the history -of music. The works of Spohr are probably so well known that no useful -purpose can be served in recounting their great merits. Suffice it to -say they are of the highest possible pitch of excellence, and require -more than ordinary technical ability to do them justice. Considered only -as a composer, he has been indefatigable in the production of every -style of music, and he was especially happy in that for the strings. His -beautiful D minor Concerto is one of the finest examples of this class -of music to be met with, and its first introduction by the great master -himself made a great sensation. As one of Spohr’s commentators truly -said, “Mozart had written solid and simple concertos, in which the -performer was expected to embroider and finish the composer’s sketch, -and Beethoven’s concertos were so written as to make the solo player -merely one of the orchestra. But, as Mozart raised opera to a higher -standard, so Beethoven uplifted the ideal of the orchestra, so Spohr’s -creative force as a violinist and writer for the violin has established -the grandest school for this instrument, to which all the foremost -contemporary artists acknowledge their obligations.” - -Before taking leave of the German school I would mention two other -names—Joseph Mayseder and Kalliwoda, both of whom contributed much that -is good, and their works consequently attained wide popularity. - -Let us now turn to our own country. We have not, it must be admitted, -occupied a front rank as composers of violin music, hence the scarcity -of classical works handed down to us; but let us hasten to add, we have -produced the finest critics in the world, and, what is more, we are -thoroughly well posted up in all the best pieces that have emanated from -the thoughts of the greatest composers. - -One of the earliest who wrote for the violin was one Rogers, who, in the -year 1653, wrote airs in four parts for violins. He was followed by John -Jenkins, who wrote twelve sonatas for two violins and a bass, printed in -1664, which were the first sonatas written by an Englishman. - -James Sherard also composed several sonatas in the beginning of the last -century, and they are said to bear such a resemblance to Corelli’s that -they might have been taken for that composer’s. - -The compositions of Handel materially advanced the violin in this -country, and the establishment by him of Italian opera was the means of -bringing us in touch with the great Italian performers and writers. - - - - - FOOTNOTES - - -[1]That Cremona instruments were held in high estimation during the - reign of Charles II, is proved by the following entry in the - Enrolments of the Audit Office, 1662, vol. vi: “These are to require - you to pay, or cause to be paid to John Bannister, one of his - Majesties musicians in ordinary, the some of fourty poundes for two - cremona violins, by him bought and delivered for his Majesties - service as may appear by the bill annexed, and also tenn pounds for - strings for two years, ending 24th June, 1662. And this shall be your - warrant, etc.” - -[2]In early English times the word “crowd” was often used instead of - fiddle. - -[3]This Act was repealed by 12 Ann Stat. 2, C. 23. - -[4]James Sherard, an Englishman, also composed several sonatas, so - nearly equal to Corelli’s, and resembling them so perfectly in style, - that they might have been taken for that composer’s. - -[5]Michael Corette was an organist in Paris in 1738. He wrote several - treatises on music. - - - - - INDEX. - - - Addison, William, 90. - Aireton, Edmund, 91. - Albani, Matthias, 45. - ——, Matthias (son), 45. - Albioni, 31. - Aldred, 11. - Amati, Andreas, 32, 46. - ——, Anthony, 32, 46. - ——, Hieronymus, 32, 46. - ——, Nicolas, 32, 47. - - Bach, 113. - Bachmann, Carl Ludwig, 72. - Baillot, 39, 112. - Baltazarini, 36, 39. - Baltzar, Tho., 23, 42. - Banks, Benjamin, 92. - ——, Benjamin (son), 94. - ——, James and Henry, 94. - Bannister, John, 13. - Barrett, John, 95. - Beethoven, 110, 115. - Benda, Francis, 43. - Bente, 32, 72. - Bergonzi, Carlo, 48. - ——, Michael Angelo, 49. - Betts, John, 95. - Boccherini, Luigi, 109. - Bolles, 11. - Boquay, Jacques, 83. - Buchstetter, Gabriel David, 72. - ——, Josephus, 73. - Buddiani, 32. - - Cappa, Giofredo, 49. - Cervette, 100. - Chanot, François, 87. - Chaucer, 15. - Choron, 37. - Cole, Thomas, 90. - Corelli, A., 28, 31, 106. - Corette, Michael, 37. - Cramer, William, 43, 110. - Cross, Nathaniel, 101. - Crossdill, 100. - - De Beriot, 39. - Dodd, Thomas, 97. - Dubourg, 42. - Duke, Richard, 97. - - Eberle, Ulric, 73. - - Feltham, Owen, 16. - Fendt, Bernhard, 97. - Fétis, 2. - Forster, William, 97. - ——, William (son), 100. - - Gagliano, Allessandro, 50. - ——, Antonio, 51. - ——, Ferdinando, 51. - ——, Genaro, 50. - ——, Giovanni, 51. - ——, Guiseppe, 51. - ——, Nicolas, 51. - ——, Raffael, 51. - Gavinies, Pierre, 39, 111. - Geminiani, F., 28, 34, 107-8. - Giardini, 35, 110. - Grancino, Giovanni Battista, 52. - ——, Paolo, 52. - Guadagnini, Giovanni Battista, 53. - ——, Guiseppe, 53. - ——, Lorenzo, 52. - Guarnerius, Andreas, 54. - ——, Guiseppe, 53. - ——, Joseph, 32, 55. - ——, Pietro, 58. - Guhr, 43. - - Habeneck, 39. - Handel, 117. - Haydn, 110, 114. - Helmer, Charles, 73. - Hoffmann, Martin, 73. - - Jarnowick, 34, 110. - Jauch (Jaug), 74. - Jay, 10. - Jenkins, John, 117. - - Kennedy, Alexander, 100. - ——, John, 100. - ——, Thomas, 101. - Kiesewetter, 43. - Klotz, Egidius, 74. - —— family, 44, 74. - ——, Mathias, 75. - ——, Sebastian, 75. - Kreutzer, 39, 112. - - Lafont, 39. - Lahousaye, 39. - Landolphus, Carlo, 59. - Leclair, Jean Marie, 39, 111. - Lindley, Robert, 100. - Locatelli, 107-8. - Lott, John Frederick, 97. - Lully, J. B., 36. - Lupot, François, 87. - ——, Nicholas, 40, 85. - - Mace, Thomas, 10. - Maggini, Giovanni Paolo, 32, 59. - ——, Pietro Sancto, 32. - Marietto, 31. - Mariani, 32. - Mayseder, 43. - Mell, Davis, 25. - Mestrino, 34, 110. - Molique, 43. - Montagnani, Dominic, 61. - Mozart, Leopold, 43. - ——, W. A., 110. - - Norman, Barak, 101. - - Otto, 80. - - Paganini, 58. - Pamphilon, Edward, 90. - Peacham, 17. - Pemberton, 90. - Pepys, 26. - Playford, John, 7. - Pugnani, 35, 110. - - Rauch, Thomas, 76. - Rayman, Jacob, 91. - Reade, Charles, 33. - Rode, 39, 112. - Rogers, 117. - Ross, 11. - Rugeri, Francesco, 62. - ——, Giambatista, 62. - Ruppert, 76. - - Salo, Gasparo da, 13, 32, 63. - Scheinlein, Matthias Frederick, 77. - Seraphin, Sanctus, 64. - Sherard, James, 31. - Smith, 11. - Solomon, J., 43. - Somis, G. B., 107. - Spohr, Louis, 43, 115. - Stainer, Jacobus, 43, 77. - Stamitz, John, 43. - Storioni, Lorenzo, 65. - Stradivarius, Antonius, 28, 32, 65. - ——, Francesco, 69. - ——, Omobono, 69. - Strutt, 14. - - Tartini, Guiseppe, 31, 34, 109. - Techler, David, 70. - Testore, Carlo Antonio, 71. - ——, Carlo Guiseppe, 71. - ——, Paolo Antonio, 71. - Torelli, 31. - Tywersus, 40. - - Urquhart, 90. - - Valentini, 31. - Veracini, 28. - Viotti, 34, 110. - Vuillaume, John Baptiste, 40, 87. - - Wamsley, Peter, 102. - Weber, 115. - Wise, Christopher, 90. - Wood, Anthony, 18. - - - _Printed by The New Temple Press, Norbury Crescent, London, S.W.16._ - - - - - Transcriber’s Notes - - ---Copyright notice provided as in the original—this e-text is public - domain in the country of publication. - ---Provided an original cover image, for free and unrestricted use with - this Distributed Proofreaders eBook. - ---Silently corrected palpable typos; left non-standard spellings and - dialect unchanged. - - - - - - - -End of the Project Gutenberg EBook of The Violin and Old Violin Makers, by -A. 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font-size:80%; } -.firstl { text-align:left; font-size:90%; } - -.sidenote { width:20%; margin-left:1.5em; text-align:right; /* SPECIAL: SIDENOTES */ -float:right; clear:right; font-size:80%; -font-weight:bold; margin-top:.5em; } -.hymninfo {font-size:90%; } - -.fnblock { margin-top:2em; } -.fndef { text-align:justify; margin-top:1.5em; margin-left:1.5em; text-indent:-1.5em; } - -.scripRef { color:red; } -dl.catalog dd { font-style:italic; } -dl.catalog dt { margin-top:1em; } - -dl.biblio dd { margin-left:3em; text-align:justify; margin-top:.5em; } -dl.biblio dt { margin-left:3em; text-indent:-3em; text-align:justify; margin-top:.5em; } -dl.biblio dt span { width:3em; color:green; display:block; float:left; clear:left; } -dl.biblio dt.null { margin-left:0; text-indent:0; } - -.lcol { width:50%; text-align:left; float:left; clear:right; } -.rcol { width:50%; float:right; text-align:right; } -.clear { clear:both; } -</style> -</head> -<body> - - -<pre> - -Project Gutenberg's The Violin and Old Violin Makers, by A. Mason Clarke - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world 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. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - - - -Title: The Violin and Old Violin Makers - Being a Historical & Biographical Account of the Violin - with Facsimiles of Labels of the Old Makers - -Author: A. Mason Clarke - -Release Date: December 21, 2016 [EBook #53785] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE VIOLIN AND OLD VIOLIN MAKERS *** - - - - -Produced by Tor Martin Kristiansen, Joseph Cooper, Stephen -Hutcheson and the Online Distributed Proofreading Team at -http://www.pgdp.net - - - - - - -</pre> - -<div id="cover" class="img"> -<img id="coverpage" src="images/cover.jpg" alt="THE VIOLIN AND OLD VIOLIN MAKERS." width="500" height="740" /> -</div> -<div class="img"> -<img src="images/ill001a.png" alt="" width="613" height="800" /> -<p class="caption"><span class="sc">A Copy of the Gasparo da Salo Violin used by Ole Bull, the Famous Scandinavian Violinist, made by Mr. Gillingham, of Chiswick.</span> (<i>The front view of this violin will be found on the cover.</i>)</p> -</div> -<h1>THE VIOLIN -<br /><span class="smallest">AND</span> -<br />OLD VIOLIN MAKERS</h1> -<p class="center"><span class="small">BEING A</span> -<br />HISTORICAL & BIOGRAPHICAL -<br />ACCOUNT OF THE VIOLIN -<br /><b>With Facsimiles of Labels -<br />of the Old Makers</b></p> -<p class="center"><span class="small">BY</span> -<br />A. MASON CLARKE -<br /><span class="small">[<span class="sc">Author of “Biographical Dictionary of Fiddlers.”</span>]</span></p> -<p class="tbcenter"><span class="sc">London</span>: -<br />WILLIAM REEVES, 83 CHARING CROSS ROAD, W.C. -<br /><i>Publisher of Books on Music.</i></p> -<p class="tbcenter"><span class="smaller"><i>Printed by The New Temple Press, Norbury Crescent, London, S.W.16.</i></span></p> -<div class="img"> -<img src="images/ill002a.png" alt="" width="388" height="799" /> -<p class="caption">A Copy of the Gasparo da Salo Violin used by Ole Bull, the famous Scandinavian violinist. Made by Mr. Gillingham, of Chiswick.</p> -</div> -<div class="pb" id="Page_iii">iii</div> -<h2>PREFACE.</h2> -<p>This little work is the outcome of some little -thought, born of hesitation. To be clear, I should -mention that some years ago I completed a somewhat -exhaustive work on the violin, the first portion -of which reached the stereotype stage, but unfortunately -owing to a fire the plates were destroyed. Other -business pressing, the work was laid aside. In the -meantime other books on the violin have been published, -a fact which might be taken as rendering -any further work on the subject superfluous. However, -it has been suggested to me by some musical -friends that if I could produce a popular work which -could be issued at a low price it would be well -received. Buoyed up with this hope, I set to work -with the object of presenting in a concise form such -information as I have thought necessary or at least -<span class="pb" id="Page_iv">iv</span> -of interest to every one who elects to take up the -violin, either as an object of recreation or serious -study. Time alone will prove whether or not the -appearance of this addition to the literature of the -violin is justified.</p> -<p>In order to facilitate my labours I have consulted -the leading British and foreign authorities on the -violin and kindred instruments. I have also during -many years devoted much time to the inspection and -study of genuine old instruments.</p> -<p><span class="lr">A. M. C.</span></p> -<p><span class="sc">Forest Hill, London.</span></p> -<div class="pb" id="Page_v">v</div> -<h2>CONTENTS.</h2> -<dl class="toc"> -<dt class="center"><span class="small">PART I.</span></dt> -<dt class="center">HISTORICAL.</dt> -<dt class="sc"><span class="smaller">PAGES</span></dt> -<dt><a href="#c1">I.—Introductory and Early English</a> 1-29</dt> -<dt><a href="#c2">II.—Italy</a> 30-35</dt> -<dt><a href="#c3">III.—France</a> 36-40</dt> -<dt><a href="#c4">IV.—Germany</a> 41-44</dt> -<dt class="center"><span class="small">PART II.</span></dt> -<dt class="center">BIOGRAPHICAL.</dt> -<dt class="center"><span class="sc">Violin Makers of the Old Schools.</span></dt> -<dt><a href="#c5">I.—Italian, with Labels</a> 45-71</dt> -<dt><a href="#c6">II.—German and Tyrolese, with Labels</a> 72-82</dt> -<dt><a href="#c7">III.—French, with Labels</a> 83-89</dt> -<dt><a href="#c8">IV.—British, with Label</a> 90-103</dt> -<dt class="center"><span class="small">PART III.</span></dt> -<dt><a href="#c9">On the Development of Classical Music for the Violin and other Stringed Instruments</a> 105-117</dt> -</dl> -<div class="pb" id="Page_1">1</div> -<h2>PART I. -<br />HISTORICAL.</h2> -<h3 id="c1">I.—INTRODUCTORY AND EARLY ENGLISH.</h3> -<p>The origin of the violin is always a very interesting -subject for study. It is one upon which many -great writers have devoted much time and thought, -but as they arrive at varying conclusions, and in -some cases opposite opinions, the result is to leave -the mind of the student in a state of conjecture and -speculation.</p> -<p>In tracing the development of certain species of -stringed instruments the arguments of some authorities -often appear pretty conclusive, but generally -we are confronted with such a mass of contradictory -assertions, that we can only treat the theories put -<span class="pb" id="Page_2">2</span> -forward as approximate. The professor, teacher -and matured student approaching this subject, of -course do so with great profit, as they are better -able to accept or reject whatever may be said concerning -the ancestry of the violin family, than is -the young beginner.</p> -<p>For those who desire a more extended knowledge -of the rise and progress of the violin family a large -field of literature is open. As a preparatory the -author recommends Otto’s “Treatise on the Structure -and Preservation of the Violin” (W. Reeves, -London), which contains much valuable and interesting -information on the subject.</p> -<p>Now, there can be little doubt but that the -simplest form of stringed instrument (played with -a bow) was conceived from the idea of a stretched -string fixed at two <i>points</i>, vibration being excited -by means of a jagged stick. The earliest known -instrument of this species, according to M. Fétis (a -great historical writer on the subject) is the ravanastron, -stated to have been invented by an ancient -King of Ceylon, called Ravana, some five or six -thousand years ago. It consisted of a cylinder of -<span class="pb" id="Page_3">3</span> -sycamore wood, hollowed out from one end to the -other. “This cylinder is about 4⅜ inches long, and -has a diameter of 2 inches. Over one end is -stretched a piece of boa skin, with large scales, -which forms the belly or sound-board. The cylinder -is crossed from side to side—at one-third of its -length, next the sound-board—by a rod or shank -of deal, which serves as a neck, of the length of 22 -inches, rounded on its under part, but flat on the top, -and slightly inclined backwards. The head of this -neck is pierced with two holes for the pegs, half an -inch in diameter; not in the side, but in the plane -of the sound-board. Two large pegs, 4 inches in -length, shaped hexagonally at the top, and rounded -at the ends which go into the holes, serve to tighten -two strings made of the intestines of the gazelle, -which are fixed to a strap of serpent skin attached -to the lower extremity of the rod or shank. A little -bridge ¾ of an inch long, cut sloping on the top, -but flat on the part which rests on the sound-board, -and worked out rectangularly in this part, so as -to form two separate feet, supports the strings. -As to the bow, it is formed of a small bamboo, of -<span class="pb" id="Page_4">4</span> -which the upper portion is slightly curved, and the -lower (nearly) straight. A hole is made in the head -of the bow, at the first knot, for fixing a hank of -hair, which is strained and fixed at the other end, -by binding a very flexible rush string twenty times -round it.”</p> -<p>Such is this most primitive bow instrument, slight -modifications of which still exist in Eastern countries. -The Chinese and Japanese fiddles one often -sees now in music-shops are not at all unlike the -ancient ravanastron. That India appears to have -given birth to bow instruments, and to have made -them known to other parts of Asia, Egypt and afterwards -to Europe, no conjecture is needed, for the -instruments themselves exist, and still preserve the -characteristics of their native originality.</p> -<p>We will now pass over a few thousand years -during which time stringed instruments of great -variety and of every conceivable shape had been -invented and improved upon in different countries -of the world, their gradual development (brought -about, no doubt, more by circumstances existing at -various periods than by any real aim towards artistic -<span class="pb" id="Page_5">5</span> -achievement) giving birth to the various families -of stringed instruments in use at the present -day, e.g., the violin family, the harp, guitar, mandoline -and pianoforte.</p> -<p class="center"><span class="gs">* * * * * * * *</span></p> -<p>In tracing the progress of the violin (which the -author will endeavour to do in connection with its -music and performers) it is necessary to content ourselves -with a more definite standpoint, therefore, -we will commence with a period when the viol or -fiddle family came upon the scene, the immediate -precursor of the violin; the viol, in fact, is not inaptly -termed the grandfather of the violin.</p> -<p>The great distinctive feature between a viol and -the present violin family, is that instead of F sound-holes, -viols had C holes. Some had sound-holes in -the shape of what are known as “flaming sword” -holes. They carried five or six strings, sometimes -more, and the finger-board was mounted with frets, -for (as was then thought) the more certain means of -stopping the notes in perfect tune, an idea which, -to modern violinists, involves an absurdity.</p> -<p>Viols are known to have been in use as early as -<span class="pb" id="Page_6">6</span> -the fifteenth century (some writers go back to the -thirteenth, but these early ones partook more of the -nature and shape of the guitar than of the subsequent -viol). The viol continued in use up to the beginning -of the reign of Charles I, and was one of the -most popular instruments in its time. There were -generally four in use, viz., treble, alto, tenor and bass, -and occupied in some respects the position now held -by our violin, tenor, ’cello and double bass. To an -ordinary observer there is little difference in appearance -between the shape of a treble viol and the -earliest violin, so that a considerable latitude of -doubt may be allowed to exist as to the finality of -the former and the adoption of the latter; but certain -it is that the violin of the time became to be -appreciated to such an extraordinary degree, that -the principal viol and lute makers towards the end -of the sixteenth century set about making violins in -the place of viols. Whether the idea of this change -was dictated by the caprice of novelty, or whether -any special demand arose for an instrument of more -extended compass by reason of the advancement -made in the musical compositions of the time, it is -<span class="pb" id="Page_7">7</span> -difficult to determine with certainty. It is significant, -however, that at this period of the advancement -of the violin, the musical influence of Tallis -(the founder of English church music), and of Bird, -his illustrious pupil, was manifesting itself throughout -this country, and in Italy the music of Palestrina -exercised a similar influence.</p> -<p>In the year 1662 appeared the first work printed -in England containing any reference to the violin. -It was written by one John Playford, and is entitled -“A Brief Introduction to the Skill of Musick,” -wherein is the following relating to the violin:</p> -<p>“The treble violin is a cheerful and sprightly -instrument, and much practised of late, some by -book, and some without; which of these two is the -best way, may easily be resolved. First, to learn -to play by rote or ear, without book, is the way never -to play more than what he can guess by seeing and -hearing another play, which may soon be forgotten, -but, on the contrary, he which learns and practices -by book, according to the rules of musick, fails not -after he comes to be perfect under these rules, which -guide him to play more than ever he was taught -<span class="pb" id="Page_8">8</span> -or heard, and also to play his part in concert, the -which the other will never be capable of, unless he -hath this usual guide.</p> -<p>“These rules of music are in a plain method, as -it shows in the first six chapters of this book, the -which being perfectly understood, viz., the notes of -the scale or gamut, which directs the places of all -notes, flat and sharp, by which are pricked all lessons -and tunes on the five lines, thus distinguishing -of the several parts by their cliffs, as the treble, -tenor, and basse. Lastly, the names of the notes, -their quantities, proportions, and rests, according to -the rule of keeping time, etc. There then remains -two things to be instructed in, how the violin is -strung and tuned, and secondly, to give you directions -for the stopping the several notes, both flat -and sharp, in their right places. Then, first observe -that this cannot be expressed in words unless on -the neck or finger-board of the violin there be set -five or six frets, as is on the viol. This, though it -be not usual, yet it is the best and easiest way for -a beginner, for by it he has a certain rule to -direct him to stop all his notes in exact tune, which -<span class="pb" id="Page_9">9</span> -those that do learn without seldom attain so good -an ear to stop all notes in perfect tune. Therefore, -for the better understanding of these following examples, -I shall assign to those six frets on the -finger-board of your violin six letters of the alphabet -in their order” (here follow examples), after -which he says:</p> -<p>“These few rules (and the help of an able master -to instruct thee in the true fingering, and the several -graces and flourishes that are necessary to be learnt -by such as desire to be exquisite hereon), will in a -short time make thee an able proficient.”</p> -<p>These quaint instructions would hardly suffice to -meet the requirements of modern violin playing, but -it is interesting to observe the rules and precepts -laid down for the student’s guidance over two hundred -years ago. Observe also the recommendation -of frets for accuracy in stopping the notes.</p> -<p>The viol, however, was not destined to die a sudden -death, at any rate, in this country. The soft -wailing tone of the viol still found many admirers, -principally amongst amateurs, who regarded the -violin in the nature of an interloper. Their cause -<span class="pb" id="Page_10">10</span> -too was vindicated by one Thomas Mace, who, -curious to relate, was born in the same year as John -Playford (1613). This worthy lived in Cambridge, -and in 1676 published a work entitled “Musick’s -Monument, or a Remembrancer of the best practical -music both Divine and Civil that has ever been -known to be in the world,” certainly a most ambitious -title and one that does not in the least suffer -on its comparison with the precepts contained in the -book. He was one of the clerks of Trinity College, -Cambridge, and seemed to have acquired considerable -knowledge of matters musical. Under whom -he was educated, or by what means he became possessed -of so much skill as to be able to furnish matter -for the above work, he has nowhere informed us. -We may collect from it that he was enthusiastically -fond of music, and of a devout and serious disposition, -though cheerful and good humoured.</p> -<p>His knowledge of music seems to have been confined -to the practice of the lute (his favourite instrument) -and the viol. The third part of this work -is devoted chiefly to the viol, and in this he censures -the abuse of music in the number of bass and -<span class="pb" id="Page_11">11</span> -treble instruments in the concerts of his time, in -which he says, it was not unusual to have but one -small weak-sounding bass viol to two or three -“scoulding violins.” This disproportion he seeks to -remedy by the observance of the following instructions. -He says:</p> -<p>“Your best provision (and most compleat) will be -a good chest of viols six in number, viz., 2 basses, -2 tenors, and 2 trebles. All truly and proportionably -suited. Of such, there are no better in the -world than those of Aldred, Jay, Smith (yet the -highest in esteem are), Bolles and Ross (one bass of -Bolles I have known valued at £100).</p> -<p>“These were old, but we have now very excellent -good workmen who (no doubt) can work as well as -those if they be so well paid for their work as they -were, yet we chiefly value old instruments before -new, for by experience they are found to be far the -best. The reason for which I can no further dive -into than to say, I apprehend that by extream age -the wood (and those other adjuncts) glew, parchment, -paper, lynings of cloath (as some use), but -above all the vernish. These are all so very much -<span class="pb" id="Page_12">12</span> -(by time) dryed. Linefied, made gentle, rarified, or -(to say better even) agefied, so that that stiffness, -stubbornness, or clunginess, which is natural to such -bodies are so debilitated and made plyable, that the -pores of the wood have a more and free liberty to -move, stir, or secretly vibrate, by which means the -air (which is the life of all things both animate and -inanimate), has a more free and easy recourse to pass -and repass, and whether I have hit upon the right -cause I know not, but sure I am that age adds goodness -to instruments, therefore they have the advantage -of all our late workmen.</p> -<p>“Now suppose you cannot procure an entire chest -of viols suitable, etc. Then thus. Endeavour to -pick up (here or there) so many excellent good odd -ones as near suiting as you can (every way), viz., -both for shape, wood, colour, etc., but especially for -size. And to be exact in that take this certain rule, -viz., let your bass be larger, then your trebles must -be just as short again in the string, viz., from bridge -to nut, as are your basses, because they should stand -8 notes higher than the basses. Therefore, as short -again (for the middle of every string is an 8th) the -<span class="pb" id="Page_13">13</span> -tenors (in the string) just so long as from the bridge -to F fret because they stand a 4th higher.</p> -<p>“Let this suffice to put you into a complete order -for viols.”</p> -<p>We have given the above quotation <i>in extenso</i> -without breaking in with any comment, in order that -the student may better understand the peculiar -phraseology used by this ancient authority. The student -will observe that old instruments were equally -valued in those days as in these, and this too was at -a period anterior to the fame of the great Stradivarius, -whose grand period commenced with the -opening of the eighteenth century.<sup><a id="fr_1" href="#fn_1">[1]</a></sup></p> -<p>There appears to be a general consensus of -opinion favouring the theory that Gaspar da Salo, -<span class="pb" id="Page_14">14</span> -the founder of the Brescian school of violin makers, -who probably worked from 1560 to 1610, was the -first to make violins in their present shape. Be this -as it may, no mention is made of any of his instruments -having found their way into this country at -this period, nor is he mentioned in any way in connection -with the adoption of the violin in this -country, the probability is that our own viol and -lute makers commenced a school of their own, -although nothing definite seems to be known as to -who they were. One thing, however, seems certain, -the early English violin makers were far behind the -Italians in point of workmanship. The English -model was large and clumsy, while that of Italy left -hardly any room for improvement.</p> -<p class="center"><span class="gs">* * * * * * * *</span></p> -<p>The derivation of the word fiddle<sup><a id="fr_2" href="#fn_2">[2]</a></sup> appears to be -wrapt in obscurity, and must in no way be taken as -coeval with the term violin. According to Strutt, -the antiquary (who wrote a very interesting work last -century on the sports and pastimes of the early English), -<span class="pb" id="Page_15">15</span> -the name of fiddler was applied to the minstrels -or itinerant musicians of the fourteenth century. -Chaucer, in his “Canterbury Tales,” mentions the term -in connection with “The Clerke of Oxenforde.”</p> -<div class="verse"> -<p class="t0">For him was lever han at his beddes head</p> -<p class="t0">A Twenty Bokys clothyd in blacke or rede</p> -<p class="t2">Of Aristotel and hys philosophie</p> -<p class="t">Than robys riche or fidel or sautrie.</p> -</div> -<p>In the “Vision of Pierce the Ploughman,” we read -“not to fare as a Fydeler or a Frier to seke Feastes.”</p> -<p>It would appear that as time went on, these wandering -minstrels or fiddlers sunk very much in -popular estimation, and were held in very low esteem, -so much so, that in the reign of Elizabeth was -passed an Act entitled “An Act for the punishment -of rogues, vagabonds, and sturdy beggars,”<sup><a id="fr_3" href="#fn_3">[3]</a></sup> and -amongst the malefactors amenable under this Act -were included “‘Wandering Minstrels’ (other than -players of interludes belonging to any Barron of -the realm, or any other honourable personage of -greater degree if authorised to play under the hand -and seal of arms of such Baron, or personage”) the -<span class="pb" id="Page_16">16</span> -penalty being “such pain and punishment as by this -Act is in that behalf appointed.”</p> -<p>We hear of the itinerant musician again in an -ordinance from Oliver Cromwell dated 1656, during -his protectorship, which prohibited “all persons -commonly called fidlers or minstrels” from “playing, -fidling and making music in any inn, alehouse -or tavern,” and also from “proffering themselves, -or desiring or intreating any one to hear them play -or make music in the places aforesaid.”</p> -<p>The great moralist, Owen Feltham, in his “Resolves,” -1631, also touches upon the subject. Under -his remarks on music we read: “It is a kind of disparagement -to bee a cunning fiddler. It argues his -neglect of better employment and that he hath spent -much time upon a thing unnecessarie. Hence it hath -been counted ill for great ones to sing and play like -an arted musician, Philip asked Alexander if hee -was not ashamed that he ‘sang so artfully.’” In the -“Westminster Magazine” for February, 1775, is an -article entitled “Fiddling Defended,” as follows:</p> -<p>“Some people are unreasonably severe against -Fiddlers, but surely there is no absurdity in attracting -<span class="pb" id="Page_17">17</span> -the eyes of the fair in displaying a white hand, -a ring, a ruffle, or sleeve to advantage. Who can -blame the performer who is successful enough to -fiddle himself into a good fortune? Whatever the -rigid and austere may think, the approbation of the -ladies is no small spur to a proficiency in music as -well as in many other sciences. It is highly probable -that Achilles (though the blind bard is silent upon -this head) would not have strummed his harp with -so much glee if the ears of Deidamia and Brifeis -had not been tickled by it.—A FIDDLER.”</p> -<p>Peacham, in his description of a “Compleat -Gentleman,” published 1634, addresses his readers -thus: “I desire no more in you than to sing your -part sure and at first sight, and withall to play the -same upon your violl or the exercise of the lute -privately to yourselfe”—and in another place he -observes: “King Henry the eighth could not onely -sing his part sure but of himselfe compose a service -of foure five and sixe parts”—and we are told that -Queen Elizabeth was a tolerable performer on the -virginals (the precursor of the pianoforte) and also -the violin.</p> -<div class="pb" id="Page_18">18</div> -<p>The next source from which any historic information -concerning the fiddle is obtained is from the -writings of one Anthony Wood, of Oxford, who, -although not a professional player, was an enthusiastic -amateur whose opinion was not to be despised.</p> -<p>This worthy in his life written by himself in the -year 1654 gives an amusing account of a musical -escapade which it may not be out of place here to -repeat, as the work is rather scarce and difficult of -access. It throws an interesting light on the state of -music at that period. He says:</p> -<p>“Having by this time got some musical acquaintance, -a frolick by all meanes must be taken by us; -and what should it be, but to disguise ourselves in -poore habits, and like contry fidlers scrape for our -livings? Faringdon Fair this yeare was the place -designed to go to: And all of us (five in number) -lodging in a house in the Middle Rew in Magd. -parish,—belonging to one Gregory a Chandler, wee -sate out very early the next morning, and calling -first on Mr. Th. Latton’s house at Kingston Baképuze, -wee bid him good morrow by 2 or 3 tunes. He -came in the hall among us, listened to our musick, -<span class="pb" id="Page_19">19</span> -gave us money, and ordered drink to (be) carried to -us. After wee had done with him, wee retired to the -In standing on the road going to Farringdon, dined -there, and after dinner wee were entertain’d by some -of the neighbours, who danc’d (as I remember) on -the Green, gave us some money and victualls, and I -think wee returned very late that evening to Oxon. -The names of those in this exploit were, myself and -Will Bull before mentioned, who played on the -Violins, Edm. Gregorie, B.A., and gent. com. of Mert. -Coll. who play’d on the bass viol, John Nap of Trinity -on the citerne, and George Mason, of the said -Coll. on another wyer instrument, but could do nothing. -Soon after we took a voyage northward, called -at Hampton Poyle, played at Mr. Wests’ house, had -some money, but more drink. Afterwards we went -(I think) to Kidlington, got something there, returned -in the evening, and certain soldiers overtaking -us, they by force, made us play in the open -field, and then left us without giving a penny.</p> -<p>“Most of my companions would afterwards glory -in this, but I was ashamed, and could never endure -to hear of it.”</p> -<div class="pb" id="Page_20">20</div> -<p>He goes on to relate that by 1656 he “had a genuine -skill in musick, and frequented the weekly meetings -of musitians in the house of Will Ellis, late -Organist of St. Johns Coll., situated and being in a -house, opposite to that place whereon the Theatre -was built.” Here he gives a list of the company -who met and performed their parts on lutes and -viols. The music masters were: “Will Ellis, -Batchelor of Musick, and owner of the house, who -always played his part either on the organ or virginal:—Dr. -John Wilson, the public professor, the -best at the lute in all England. He sometimes -play’d on the lute, but mostly presided (directed) -the consort.—Curteys, a lutenist, lately ejected from -some choire or cathedral church. Thomas Jackson, -a bass violist.... Ed. Low, Organist lately of -Christ Church. He play’d only on the organ; so -when he played on that instrument Mr. Ellis would -take up the counter-tenor viol, if any person were -wanting to perform that part. Gervace Littleton -... a violist; he was afterwards a singing man of -St. Johns Coll. Will Glexney, who had belonged to -a choire before the warr ... he played well upon -<span class="pb" id="Page_21">21</span> -the bass-viol, and sometimes sung his part.... -Proctor, a young man and a new comer. John -Parker, one of the university musitians. But Mr. -Low, a proud man, could not endure any common -musitians to come to the meeting, much less to play -among them. Of this kind I must rank John Haselwood, -an apothecary, a starch’d formal clister-pipe, -who usually played on the bass-viol, and sometimes -on the counter-tenor. He was very conceited of his -skill (though he had but little of it) and therefore -would be ever and anon ready to take up a viol -before his betters, which being observed by all, they -usually called him ‘Handlewood.’ The rest were -but beginners.</p> -<p>“Proctor died soon after this time, he had been -bred up for Mr. John Jenkyns, the mirrour and wonder -of his age for musick, was excellent for the -lyra-viol, and division-viol, good at the treble-viol, -and treble-violin, and all comprehended in a man of -three or four and twenty years of age. He was much -admired at the meetings, and exceedingly pitied by -all the facultie for his loss.”</p> -<p>“A. W. was now advised to entertain one Will -<span class="pb" id="Page_22">22</span> -James, a dancing master, to instruct him on the violin, -who by some was accounted excellent on that -instrument, and the rather, because it was said that -he had obtained his knowledge in dancing and -musick in France. He spent, in all, half a yeare with -him, and gained some improvement from him; yet -at length he found him not a compleat master of his -facultie, as Griffith and Parker were not; and, to say -the truth, there was no complete master in Oxon for -that instrument, because it <i>had not hitherto been -used in consort</i> among gentlemen, only by common -musitians, who played but two parts. The gentlemen -in private meetings, which A. W. frequented, -played three, four, and five parts with viols, as -treble-viol, tenor, counter tenor, and bass, with an -Organ, virginal or harpsicon joyn’d with them; and -they esteemed a violin to be an instrument only -belonging to a <i>common fiddler</i>, and could not -endure that it should come among them, for feare -of making their meetings to be vaine and fiddling. -But before the restoration of King Charles II, and -especially after, viols began to be out of fashion, -and only violins used, as treble-violin, tenor, and -<span class="pb" id="Page_23">23</span> -bass violin; and the King, according to the French -mode, would have 24 violins playing before him -while he was at meales, as being more airie and brisk -than viols.”</p> -<p>Under the year 1658 he informs us that: “Tho. -Baltzar, a Lubecker borne, and the most famous -artist for the violin that the world had yet produced, -was now in Oxon. And this day (July 24th), A. W. -was with him and Mr. Ed. Low at the Meeting -house of Will Ellis. A. W. did then and there, to -his very great astonishment, heare him play on the -violin. He then saw him run up his fingers to the -end of the finger-board of the violin, and run them -back insensibly, and all in alacrity and in very good -tune, which he nor any in England saw the like -before. A. W. entertained him and Mr. Low with -what the house could then afford, and afterwards he -invited them to the tavern; but they being engag’d -to goe to other company, he could no more heare him -play or see him play at that time. Afterwards he -came to one of the weekly meetings, at Mr. Ellis’s -House, and he played to the wonder of all the auditory; -and exercising his fingers and instrument -<span class="pb" id="Page_24">24</span> -several wayes to the utmost of his power. Wilson, -thereupon, the public professor (the greatest judge -of musick that ever was) did, after his humoursome -way stoope downe to Baltzar’s feet to see whether he -had a huff (hoof) on, that is to say, to see whether -he was a devil or not, because he acted beyond the -parts of man.”</p> -<p>“About this time it was, that Dr. John Wilkins, -warden of Wadham Coll., the greatest curioso of his -time, invited him and some of the musitians to his -lodgings in that Coll. purposely to have a consort, -and to see and heare him play. The instruments and -books were carried thither, but none could be persuaded -there to play against him in consort on the -violin.</p> -<p>“At length the company perceiving A. W. standing -behind in a corner, neare the dore, they haled -him in among them, and play, forsooth he must, -against him. Whereupon he being not able to avoid -it, took up a violin and behaved himself as poor -Troylus did against Achilles. He was abashed at -it, yet honour he got by playing with and against -such a grand master as Baltzar was.”</p> -<div class="pb" id="Page_25">25</div> -<p>“Mr. Davis Mell was accounted hitherto the best -for the violin in England, as I have before told you, -but after Baltzar came into England, and showed -his most wonderful parts on that instrument, Mell -was not so admired, yet he played sweeter, was a -well bred gentleman, and not given to excessive -drinking as Baltzar was.”</p> -<p class="center"><span class="gs">* * * * * * * *</span></p> -<p>Baltzar occupies a twofold prominence, he was -one of the earliest German performers, and the first -to give any real impetus towards the popularity of -the violin in this country. He is also stated to have -been the first to introduce the practice of “shifting.”</p> -<p class="center"><span class="gs">* * * * * * * *</span></p> -<p>During the reign of Charles I, and also during -the Cromwellian usurpation, music was practically -at a standstill. Instrumental music in churches was -prohibited, and the theatres were soon after shut up. -Indeed, as a previous historian of the art has -observed, “nothing but syllabic and unisonous -psalmody was authorised or even permitted in the -Church. Organs were taken down; organists and -choirmen reduced to beggary, and the art of music, -<span class="pb" id="Page_26">26</span> -and indeed all arts but those of killing, canting, -and hypocracy, discountenanced, if not prescribed. -The only demand made for the fiddle was in the -performance of low class music as an accompaniment -to the bacchanalian orgies, in favour during -this profligate period.”</p> -<p>However, with the restoration of Charles II, came -the restoration of music in this country. The musical -taste of this monarch having been formed in -France during his sojourn there, he was naturally -anxious to introduce the French style into this country, -and as we have seen from the writings of -A. Wood, he emulated the French King, Louis XIV, -by employing a band of twenty-four violins. From -this period, and with this impetus, the epoch of -violin playing in England may be said to date.</p> -<p>The leader of this band of twenty-four violins was -Baltzar; he was succeeded by John Banister, who -was really the first English violinist of any note.</p> -<p>Pepys, in his Diary, under date February 20, -1667, says: “They talk how the King’s violin Banister -is made. That a Frenchman (Louis Grabu) is -come to be chief of some part of the King’s music.”</p> -<div class="pb" id="Page_27">27</div> -<p>It is worthy of notice that Banister was sent -abroad by Charles II in order to study music and -acquire the French taste, and so fit himself for the -leadership of the King’s band, which post, however, -he soon lost for asserting in the King’s hearing that -the English violinists were superior to those of -France, which probably accounts for the note made -by Pepys in his Diary.</p> -<p>Banister must have been a very enthusiastic musician, -for he was the first who publicly advertised -concerts in this country.</p> -<p>The following advertisement is extracted from -the “London Gazette,” under date Monday, December -30, 1672.</p> -<p>“These are to give notice, that at Mr. John Bannister’s -House (now called the Music School) over -against the George Tavern in White Fryers, this -present Monday, will be musick performed by excellent -Masters, beginning precisely at 4 of the Clock -in the afternoon, and every afternoon, for the future -precisely at the same hour.”</p> -<p class="center"><span class="gs">* * * * * * * *</span></p> -<p>We have now arrived at the close of the seventeenth -<span class="pb" id="Page_28">28</span> -century, by which time the supremacy of the -violin was established not only in England, but in -all countries where culture and the fine arts march -hand in hand.</p> -<p class="center"><span class="gs">* * * * * * * *</span></p> -<p>Before bringing this notice to a close, let us glance -briefly at the artistic activity prevailing during the -early part of the eighteenth century.</p> -<p>In his workshop at Cremona would be found the -great violin maker, Antonius Stradivarius, producing -those inimitable instruments which have -rendered him so famous. We find Corelli at the -head of the first school of violinists at Rome (of -which he was the founder), turning out pupils -destined to shed lustre into whatever country they -carried their art, and writing those immortal sonatas, -that will ever retain their high character as -examples of tonal purity, and with Boccherini, laying -the foundation of chamber music.</p> -<p>In 1714 the arrival in England of Geminiani and -Veracini, the great Italian violinists, contributed -to make the violin more popular as well as to -advance the practice of execution. They also supplied -<span class="pb" id="Page_29">29</span> -the performers on that instrument with compositions -far superior to any they had possessed -prior to their arrival.</p> -<p>The establishment of Italian opera in England -served to raise up a host of violinists, who were not -slow in availing themselves of the facilities afforded -them for studying under the great Italian masters -continually visiting this country. The result has -been, that England at the present day is able to -point with pride to some of the most notable performers -on the violin, as belonging to her ranks.</p> -<div class="pb" id="Page_30">30</div> -<h3 id="c2">II.—ITALY.</h3> -<p>In musical execution, the early schools of Italy -showed a marked superiority over the rest of -Europe, particularly with regard to the violin.</p> -<p>Corelli, who was born in 1653, was the first to -establish a new school in instrumental composition, -distinguished from that which preceded it by a -graceful, rhythmical and natural manner of writing. -He was the first composer who brought the violin -into repute; and his originality, facility and delicacy -of style, greatly contributed to the popularity -of the violin. He was founder of the Roman, or -what may now be called the ancient school of violinists, -and obtained the proud title of “Princeps -Musicorum.” After the publication of Corelli’s -works, there was scarcely a town in Italy where the -<span class="pb" id="Page_31">31</span> -violin was not cultivated and in which some distinguished -performer on that instrument did not -reside. Most of his contemporaries formed themselves -on his model—as Albioni, of Venice, Torelli, -of Verona, Valentini (whose works were published -in Holland), and Marietto, who was a Neapolitan -violinist attached to the household of the Duke of -Orleans.</p> -<p>Tartini, born 1692, the most celebrated performer -on the violin of his day, formed all his scholars on -the solos of Corelli.<sup><a id="fr_4" href="#fn_4">[4]</a></sup> He was the first who observed -the phenomenon of the third sound, which he did in -the year 1714, at Venice. This is the resonance of a -third note when the two upper notes of a chord are -sounded; and may be distinctly heard if a series of -consecutive thirds are played on the violin, they -being perfectly in tune.</p> -<p class="center"><span class="gs">* * * * * * * *</span></p> -<p>Let us now briefly notice the two great Italian -<span class="pb" id="Page_32">32</span> -schools of violin makers, which, up to the end of the -seventeenth century, had been called into existence.</p> -<p>The first was the Brescian school, the founder of -which was Gasparo da Salo. This maker, as we -have mentioned elsewhere, was the first to introduce -the violin in its present size and shape. The next -representative of this school was John Paul Maggini, -who worked from 1600 to 1640. Other makers -there were, viz., Mariani, Buddiani, Ambrosi, Bente, -Pietro Sancto Maggini (son of J. P. Maggini), but -they call for no special comment.</p> -<p>The next great school was the Cremonese, founded -by Andreas Amati, who was succeeded by his sons, -Antony and Hieronymus Amati, and they worked -together for some time. The most noted of this -family was Nicolas Amati (born 1596, died 1684). -The Cremonese renown for violin making, however, -attained its climax in the productions of Antony -Stradivarius (1644-1737) and Joseph Guarnerius -(1683-1745). The various lesser lights who worked -in these two schools will be duly noticed in the biographical -portion of this work.</p> -<p class="center"><span class="gs">* * * * * * * *</span></p> -<p>The music of this period falls next to be noticed. -<span class="pb" id="Page_33">33</span> -Mr. Charles Reade, in his able articles on Cremona -fiddles, which appeared in the August numbers of -the “Pall Mall Gazette” for 1872, states, “Man invents -only to supply a want.” This observation is -peculiarly applicable to the violin; for we find that -with the advancement of musical composition came -the desire to attain greater perfection in the art of -violin making. This is illustrated by the fact that -the performance of modern music would be next to -impossible on one of the old violins, by reason of -the then shortness of the neck; hence arises the -necessity for refitting old violins with longer necks, -thus giving the performer greater command over the -high notes, and adding largely to the strength of -the instrument.</p> -<p>The use of the violin in the orchestra began to -receive recognition with the dawn of the seventeenth -century. Monteverde, in his opera of “Orfeo,” -printed in 1615, scores for “two little French violins” -(<i>piccoli violini alla Francese</i>).</p> -<p>Without referring to the periods anterior to the -seventeenth century, concerning which we have little -<span class="pb" id="Page_34">34</span> -or no information, we know that during the first two -generations of that century, music in Italy was -mostly in the madrigal style. The capabilities of -instrumental music, apart from the voice, however, -were soon discovered, and composers entered gladly -upon a new and wide field of musical effort. The -compositions were usually comprehended under the -names of studies, fantasias, capricci, sonatas, concertos -and other pieces in various styles.</p> -<p>Corelli has been accredited with fixing the form -of the sonata, and Torelli, his contemporary, with -inventing the concerto.</p> -<p>When dramatic music began to prevail under -Corelli, it was scientific and rather dry, Geminiani -first enriched it by expression; but it was under Tartini -that it attained the highest degree of expression, -both as to composition and execution. Soon after -this period the concerto was greatly improved in -the hands of Jarnowick and Mestrino, both of whom -were still surpassed by Viotti, who gave to this style -the character which seems so peculiarly its own and -brought it to a degree of perfection which it seems -incapable of exceeding.</p> -<div class="pb" id="Page_35">35</div> -<p>These remarks apply equally to solo as to concerted -music: by which term we understand music -for several voices or instruments, the parts of which -do not stand in the relation of solo and accompaniments, -but are of nearly equal importance; equally -<i>obbligato</i>, either because each of them has its appropriate -part, or because each takes up the strain -successively, the others alternately becoming accompaniments. -This method is practically alike in the -duet, the trio, the quartet, the quintet, and other -pieces where each instrument has its separate part.</p> -<p>Boccherini was the first who, in 1768, gave to these -forms a fixed character. After him came Fiorillo, -Giardini, Pugnani, and lastly, Viotti.</p> -<p>Such was the style of music, so far as the violin -is concerned, from the time of Corelli to the commencement -of this century.</p> -<p>Although Italy has since had to yield the palm -for instrumental music to other countries, we must -not overlook the fact that for generations she held -undisputed sway in the realm of music; both as -regards composers and performers.</p> -<div class="pb" id="Page_36">36</div> -<h3 id="c3">III.—FRANCE.</h3> -<p>We will now direct our attention to France.</p> -<p>Towards the latter end of the sixteenth century -the lute was a very favourite and general instrument. -About the year 1577 the violin was introduced -by Baltazarini, a then celebrated performer, who was -sent at the head of a band of performers by Marshal -Brissac to Catherine de Medicis, and was appointed -valet de chambre to the Princess. Beyond this little -appears to be known of him.</p> -<p>We have elsewhere had occasion to refer to the -band of twenty-four violins of Louis XIV. The leader -of this band was a Florentine named Lully, who was -instrumental in introducing the Italian music into -France, thus giving to that country a new musical -existence. The high standard then prevailing in -<span class="pb" id="Page_37">37</span> -Italy, he, however, failed to maintain, but be this as -it may, the French seemed to have acquired a kind -of distinctive reputation as performers, for M. -Choron says: “With respect to the style in which the -French have real and undisputed merit, and, indeed, -in many respects have a marked superiority, is the instrumental -in general, and especially that of the violin.... -The excellence of the twenty-four violins of -Louis XIV formed by Lully and of other violinists, -was highly spoken of so far back as the seventeenth -century,” and he adds, “I do not, however, know how -to reconcile these facts with the following remark of -Corette<sup><a id="fr_5" href="#fn_5">[5]</a></sup> in the preface to his “Method of Accompaniment,” -published at Paris about the year 1750. -‘At the commencement of this century’ (says -Corette) ‘music was very dull and slow,’ etc.... -When Corelli’s sonatas were first brought from -Rome (about 1715), nobody in Paris could play -them. The Duke of Orleans, then Regent, being a -great amateur of music, and wishing to hear them, -was obliged to have them <i>sung</i> by three voices. The -<span class="pb" id="Page_38">38</span> -violinists then begun to study them, and, at the expiration -of some years, three were found who could -play them. Baptiste, one of these, went to Rome to -study them under Corelli himself,” and M. Choron -continuing, says: “Be this as it may, since that -period, instrumental music has been studied with -ardour by the French, and they have made astonishing -progress in it. France has now an excellent -school for the violin, founded upon that of Italy.”</p> -<p>It seems rather astonishing to believe that singers -could be found to sing that which took a violinist -years of practice to perform, especially in view -of the fact that France at that period almost -neglected the vocal art, and we must regard Corette’s -criticism as somewhat biased, notwithstanding he -was “a furious partisan of the French school of -music.”</p> -<p>No doubt the French had to supply their repertoires -of chamber music (when they required it) -from the Italian composers, the music of France in -Lully’s time being mostly composed for the lyric -drama, which was then greatly in vogue.</p> -<p>The first to call into existence a French school -<span class="pb" id="Page_39">39</span> -was Jean Marie Leclair, who received his instructions -from Somis, an Italian. He does not, however, -appear to have formed any great performers, -owing, probably, to the European fame of the great -Italian masters. According to one historian the real -founder of the French school was Pierre Gavinies, -born at Bordeaux in 1726. Be this so or not, he -certainly produced some fine masters. Indeed, during -the eighteenth century, France was productive -of the finest violinists that had been heard. We have -only to mention such names as Lahousaye, Barthélémon, -Rode, Kreutzer, Lafont, Baillot, Habeneck and -De Beriot, in proof of this assertion.</p> -<p class="center"><span class="gs">* * * * * * * *</span></p> -<p>The early records of violin making in France, like -those of other countries, seem buried in obscurity. -Its literature offers but scant information of a reliable -character, and we are therefore compelled to -make the most of such evidence as is afforded by the -slender testimony of paintings and ecclesiastical -monuments.</p> -<p>We are told that Baltazarini was the first to introduce -the violin (or rather the performance of it) into -<span class="pb" id="Page_40">40</span> -France, in the year 1577, so that it is safe to assume -no maker of any note existed anterior to this period. -One authority tells us that, in the year 1566, the -name of Tywersus of Nancy appears as a lute and -violin maker, and is reported to have assisted Andreas -Amati to finish certain instruments made for -the chapel of Charles IX. Soon after this period -several names of makers are recorded, but little -seems to be known of them, or of their work.</p> -<p>Excellence in violin making seems to have commenced -with the middle of the eighteenth century, -when the name of Nicholas Lupot appears on the -scene as the founder of the French school. Before -he died, however, in 1824, France had given birth to -John Baptiste Vuillaume, in whose hands the construction -of violins attained the utmost perfection. -His instruments are much admired and often realise -large sums of money. Many makers of great merit -have since cropped up, which has had the effect of -establishing France as the greatest producer of the -instrument, the subject of these pages.</p> -<div class="pb" id="Page_41">41</div> -<h3 id="c4">IV.—GERMANY.</h3> -<p>Let us now direct our spirit of inquiry into Germany, -that land of music and musicians. This country, -notwithstanding its present musical position -appears to have been somewhat behind the times in -regard to the production of any early violin performers -of note, and affords the names of fewer -musicians than almost any other country during the -sixteenth century, if we except Spain. An explanation -of this seems to be afforded by the fact of the -wars, which devastated Germany during the latter -part of the sixteenth and beginning of the seventeenth -centuries, and particularly the terrible Thirty -Years’ war, during which five great armies overran -that unhappy country, carrying desolation and -havoc in every part of it. These wars destroyed the -arts, which can only flourish in the bosom of peace -<span class="pb" id="Page_42">42</span> -and happiness. It is certain that at this period the -school of Germany was greatly inferior to that of -Italy; it even appears that the French school began -before the German to emerge from obscurity. Reason -is wanting to account for the German lack of -early performers, but we feel constrained to borrow -the following words from Dubourg. He says: -“We may observe, that, although derived originally, -like all others, from that of Italy, and contracting -no inconsiderable obligations to it in its progress, it -has been, on the whole, much less indebted to the -Italians for resources and support, than the school -either of France or England.”</p> -<p>Although the early German performers were inferior -as soloists to those of Italy or France, they -were certainly able to hold their own as orchestral -players. Be this as it may, they have certainly, in -modern times, produced some of the finest violinists -the world has seen; the music too, has long since -supplanted that of Italy.</p> -<p>Thomas Baltzar, born at Lubec about 1630, was -esteemed the finest violin performer of his time; but -<span class="pb" id="Page_43">43</span> -he came to England as we have seen in 1658, and -helped to rescue the violin from the low estimation -in which it was then held, an honour, however, he -only lived five years to enjoy.</p> -<p>It was not until the early part of the eighteenth -century that any attempts were made to establish a -German violin school. Amongst the first to diffuse -any artistic influence may be mentioned Francis -Benda, 1709-86, and John Stamitz, 1719-61, but the -honour of founding a distinct school must be -awarded to Leopold Mozart (father of the great -W. A. Mozart) and after him came William Cramer, -who ultimately came to England; these were followed -by J. Salomon and Kiesewetter.</p> -<p>Louis Spohr, born 1784, may rightly be termed -the founder of the modern German school, he was -both a performer and composer of the highest order. -The names of Guhr, Mayseder and Molique are also -well known as performers of great merit.</p> -<p class="center"><span class="gs">* * * * * * * *</span></p> -<p>Violin making in Germany commenced with the -name of Jacobus Stainer, born at Hall, near Absam, -in the Tyrol, 1621, died 1683. It has been said, -<span class="pb" id="Page_44">44</span> -though without authority, that he was an apprentice -of Nicholas Amati, a statement which would gain -little credence on comparing the instruments of each -of these makers.</p> -<p>The next makers in succession are the Klotz -family (six in number), 1670-1741. Other makers -will be found in the biographical section.</p> -<div class="pb" id="Page_45">45</div> -<h2>PART II. -<br />BIOGRAPHICAL. -<br /><span class="small">VIOLIN MAKERS OF THE OLD SCHOOLS.</span></h2> -<h3 id="c5">I.—ITALIAN.</h3> -<p><span class="ss">ALBANI, MATTHIAS</span>, born at Botzen in -the Tyrol, 1621, died there 1673. He adopted the -Stainer model, and produced some very fine instruments.</p> -<div class="img"> -<img src="images/ill003a.png" alt="Mattio Alban fecit Bolzan. 17" width="600" height="142" /> -</div> -<p><span class="ss">ALBANI, MATTHIAS</span>, son and pupil of the -foregoing. He afterwards went to Cremona to study -the art in the Amati school, and afterwards adopted -that model with great success.</p> -<div class="img"> -<img src="images/ill004a.png" alt="Matthias Albanus mefecit, Bulfani in Tyroli. 1706" width="600" height="118" /> -</div> -<div class="pb" id="Page_46">46</div> -<p><span class="ss">AMATI, ANDREAS</span>, born about 1520, died -about 1580. Founder of the Cremonese school. It -is conjectured that he was a pupil of Gasparo da -Salo. He adopted rather a small model, built rather -high in the centre. Backs cut on the layers, deep -golden varnish, and perfect finish, are the chief -characteristics of this maker.</p> -<p>The tone is sweet and sympathetic, but lacks brilliancy; -they are therefore valued more on account of -their historical associations than as a musical medium.</p> -<p><span class="ss">AMATI, ANTONIUS</span> and <span class="ss">AMATI, -HIERONYMUS</span>, flourished 1570-1635. These -two were sons of Andreas. They worked together it -is presumed for some time, and produced many instruments -of great beauty. The wood was well -chosen and handsomely figured. The model selected -was not quite so high as that adopted by the father. -The <i>f</i> holes are of beautiful shape, and the backs -are cut variously in the whole or slab. The purfling, -which is of exquisite quality, is inserted with the -utmost skill. The tone of the instruments made by -this ancient firm is sweet and pure, but is deficient in -power.</p> -<div class="pb" id="Page_47">47</div> -<div class="img"> -<img src="images/ill005a.png" alt="Antonius, & Hieronym. Fr. Amati Cremonen. Andrex fil. F. 16 Antonius, & Hieronimus Fr. Amati Cremonen. Andrex F. 16" width="600" height="257" /> -</div> -<p><span class="ss">AMATI, NICOLAS</span>, born 1596, died 1684. -He was the son of Hieronymus, and the best artist of -his family. His first efforts were simply copies of -the firm last mentioned. His most celebrated fiddles -are known as “Grand Amati’s.” He somewhat flattened -the model of his father, and continued the -arching nearer the sides, where it forms a sinking in -round the edges. The <i>f</i> holes are exquisitely cut, -and the corners are long and strongly pronounced. -The wood chosen for the bellies has a fine even -grain, and the backs are beautifully marked. The -varnish used by Nicolas was deeper and richer than -that used by the other members of the family.</p> -<p>The following is a facsimile of an authentic ticket -of this great maker.</p> -<div class="pb" id="Page_48">48</div> -<div class="img"> -<img src="images/ill006a.png" alt="Nicolaus Amatus Cremonen. Hieronymi Fil. ac Antonij Nepos Fecit. 1677" width="600" height="99" /> -</div> -<p><span class="ss">BERGONZI, CARLO</span>, Cremona, flourished -1718-47. This maker was the best pupil of Stradivarius. -He at first copied his great master, but subsequently -started a model of his own; rather broad -and heavy, and flat arching. The scroll is strongly -pronounced and finely cut. The <i>f</i> holes, which are -unusually long, are placed low in the body, and very -near the purfling. The wood is carefully selected -and the general workmanship is of superior finish; -only equalled by Nicolas Amati or Stradivarius. -The varnish used by Bergonzi was reddish brown, -rather thickly applied.</p> -<div class="img"> -<img src="images/ill007a.png" alt="Anno 1733 Carlo Bergonzi fece in Cremona Anno 17__ Reuifto e corretto da me Carlo Bergonzi in Cremona" width="600" height="325" /> -</div> -<div class="pb" id="Page_49">49</div> -<p><span class="ss">BERGONZI, MICHAEL ANGELO</span>, Cremona, -1720-60, son of Carlo, made good instruments, -but they certainly suffer on comparison with those of -his father. This maker had two sons called respectively -Nicolaus, and Zosimo, who followed the same -calling from 1739-65.</p> -<div class="img"> -<img src="images/ill008a.png" alt="Nicolaus Bergonzi Cremonensis faciebat Anno 1760 Fatto da me Zosimo Bergonzi F anno 17__ Cremona" width="600" height="408" /> -</div> -<p><span class="ss">CAPPA, GIOFREDO</span>, an early maker who -worked in Cremona about 1590 to 1640. He was a -pupil of Hieronymus and Antonius Amati, when -those brothers were in partnership. In 1640 he proceeded -to Piedmont and founded the school of -Saluzzio, and formed there many good pupils. -Cappa succeeded best in the manufacture of violoncellos.</p> -<div class="pb" id="Page_50">50</div> -<div class="img"> -<img src="images/ill009a.png" alt="IOFREDVS CAPPA FECIT SALVTVS ANNO 1630" width="600" height="92" /> -</div> -<p><span class="ss">GAGLIANO, ALLESSANDRO</span>, born about -1640, died at Naples in 1725. He is said to have -commenced operation in Cremona, working under -Stradivarius. His instruments are flat in model, -rather large, and generally of fairly good tone -throughout. Varnish light yellow. The badly cut -scrolls tend to mar the otherwise symmetrical proportions -of this maker’s instruments. Label as -follows:</p> -<div class="img"> -<img src="images/ill010a.png" alt="Alessandri Gagliano Alumnus Stradivarius fecit Neapoli anno 1701" width="600" height="136" /> -</div> -<p><span class="ss">GAGLIANO, GENNARO</span>, son of Allessandro, -born about 1695, died 1750. He is considered -the best maker of the family, and his instruments -are, as a consequence, much sought after. He exercised -great care in the selection of his wood, and -used a much finer varnish than either his father or -brother Nicolas. Whether or not he was a prolific -<span class="pb" id="Page_51">51</span> -maker is uncertain, but instruments of his are rarely -to be met with.</p> -<div class="img"> -<img src="images/ill011a.png" alt="Januarius Gagliano, Filius Alexandri fecit Neap. 1732." width="600" height="141" /> -</div> -<p><span class="ss">GAGLIANO, NICOLAS</span>, another son of -Allessandro, was born about 1665, died 1740. He -was a finer workman than his father, paying more -attention to the outward appearance of the instrument, -the tone of which is pronounced very fine in -his best examples. Besides violins he made a large -number of violas and violoncellos. His tickets usually -run: “Nicolaus Gagliano filius Alexandri fecit -Neap.”</p> -<p>The remaining members of the family are: Ferdinando, -born 1706, died 1781, eldest son of Nicolas; -Guiseppe, died 1793; Giovanni, died 1806, also -sons of Nicolas; Raffael and Antonio, sons of Giovanni. -Antonio died in 1860. Label of Ferdinando:</p> -<div class="img"> -<img src="images/ill012a.png" alt="Ferdinandus Gagliano Filius Nicolai fecit Neap. 17" width="600" height="185" /> -</div> -<div class="pb" id="Page_52">52</div> -<p><span class="ss">GRANCINO, PAOLO</span>, 1665-90, was instructed -by and worked under Nicolas Amati. His -instruments are of large model, light yellow varnish, -large sound-holes, negligent purfling, and carelessly -finished corners. The arching is flattish, and the -scrolls coarse. The tone of his instruments, however, -possess great power and is of good quality. Other -members of the family worked in Milan.</p> -<p><span class="ss">GRANCINO, GIOVANNI BATTISTA</span>, a -good maker of the same school, probably a son of -Paolo. Label as follows:</p> -<div class="img"> -<img src="images/ill013a.png" alt="Gia. Bapt. Grancino in Contrada Largha di Milano anno 1695" width="600" height="102" /> -</div> -<p><span class="ss">GUADAGNINI, LORENZO</span>, Placentia, 1695-1760. -This maker worked for several years with -Stradivarius, whose instruments he copied with more -or less success. The wood chosen was generally of -fine quality, and the workmanship is evidence that -the maker fabricated his instruments with extreme -care. The tone of a genuine Lorenzo is most brilliant -in the upper register, but somewhat weak in -<span class="pb" id="Page_53">53</span> -the lower. They are much sought after by performers -where the possession of a Cremona of the -first order is unattainable. The varnish used was a -rich amber or yellowish red of fine quality. A ticket -of this maker is as follows:</p> -<div class="img"> -<img src="images/ill014a.png" alt="Lavrentius Guadagnini Pater, & alumnus Antonj Straduarj fecit Placentie Anno 1743" width="600" height="195" /> -</div> -<p><span class="ss">GUADAGNINI, GIOVANNI BATTISTA</span>, -was a brother of Lorenzo. He made some really -good instruments, dividing his attention between the -Stradivari and the Amati models. Giambattista -was a son of Lorenzo, and reputed pupil of Stradivarius. -He afterwards went to Piacenza and subsequently -settled in Turin. His instruments are also -much prized. Guiseppe, son of Giovanni, worked -successively in Milan, Como and Parma. Other -members of the same family also made violins, but -little appears to be known of them or of their works.</p> -<div class="pb" id="Page_54">54</div> -<div class="img"> -<img src="images/ill015a.png" alt="Joannes Baptista Guadagnini Pla-|centinus fecit Mediolani 1703 {trademark: seal containing cross GBG P} Joannes Baptista Guadagnini {trademark: cross GBG (incomplete)} Crenionensis fecit Taurini. {missing}nnus Antoni Stradivari 17" width="600" height="269" /> -</div> -<p><span class="ss">GUARNERIUS, ANDREAS</span>, born about -1626, died 1698.</p> -<p>The founder of this celebrated family of violin -makers was a pupil of Nicolas Amati. His instruments -are estimable for good workmanship somewhat -in the style of the Amati, although marked by -certain peculiar details, by which indeed they are -recognised. His varnish is either golden yellow or -brownish red. Andreas left two sons, Peter and -Joseph.</p> -<p>Ticket as follows:</p> -<div class="img"> -<img src="images/ill016a.png" alt="Andreas Guarnerius fecit Cremonæ sub titulo Sanctæ Teresiæ 16" width="600" height="111" /> -</div> -<div class="pb" id="Page_55">55</div> -<p><span class="ss">GUARNERIUS, GIUSEPPE</span>, usually called -“Joseph,” son of Andreas, born 1666, died about -1739. Although he may have been a pupil of Andreas, -he has not followed his model. Some say he -followed Stradivarius, whose contemporary he was, -and subsequently followed his cousin, also called -Joseph, of whom we shall speak presently. He has -consequently varied both in his patterns and in the -details of manufacture; but his instruments are of -good quality and much esteemed, and are more elegant -in form than those of his father. The colour -of his varnish is a brilliant red.</p> -<p>A ticket of his reads:</p> -<div class="img"> -<img src="images/ill017a.png" alt="Ioseph Guarnerius filius Andreæ fecit Cremone sub titulo S. Teresie 1706" width="600" height="120" /> -</div> -<p><span class="ss">GUARNERIUS, JOSEPH ANTHONY</span>, -the most renowned of this family, was born in 1683 -and died about 1745; his period of activity dating -from 1725. According to M. Fétis, his father was -John Baptist Guarnerius, who was a brother of -Andreas.</p> -<div class="pb" id="Page_56">56</div> -<p>He is usually known by the surname of “del -Jesù,” because many of his labels bear this device.</p> -<div class="img"> -<img src="images/ill018a.png" alt="{maltese cross} I.H.S." width="208" height="155" /> -</div> -<p>Most authorities agree in dividing his working -career into four periods. His first attempts were not -marked by any characteristic sign of originality, except -in the indifferent choice of material, form and -in the varnish. In the second period, his instruments -are found to be made with care; the wood used for -the sides and back being of excellent quality, and -cut on the quarter (<i>sur maille</i>); the deal of the belly -has been well chosen; the varnish of fine complexion -and elastic quality. The pattern is small, but of -beautiful outline. The arching is slightly elevated -and falls off towards the purfling in a graceful -curve. M. Fétis in his criticism of these instruments, -points out an obvious defect, namely, the too great -thickness of the wood, especially in the backs, which -tends to impede the freedom of vibration, and consequently -the brilliance of sound. In the third or -grand period of his career, Joseph Guarnerius, says -the same authority, presents a still more surprising -<span class="pb" id="Page_57">57</span> -variety in the forms of his instruments. During this -period he produced instruments of large pattern, -made of excellent wood cut (<i>sur maille</i>); and conformably -to the best conditions possible, in respect -to arching and degrees of thickness. A beautiful -varnish of a lovely orange shade, remarkable for its -fineness and elasticity, protect these excellent instruments, -which are considered equal to the most -beautiful productions of Anthony Stradivarius. We -now arrive at the fourth period, which, it is sad to -observe, forms a striking contrast to the glorious -third. Here we have evidence of a lamentable falling -off. The master seems to have worked carelessly, -the wood is poor, as is the varnish.</p> -<p>Reports have been handed down to account for -this apparent degeneration of talent, but as it is impossible -to verify the same, it can serve no good purpose -to here relate them. It only remains to be said, -concerning this great master, that he has built up a -reputation that is not likely to suffer by mere rumour.</p> -<p>Paganini possessed one of the finest examples of -a del Jesù, which was presented to him by a M. Livron, -<span class="pb" id="Page_58">58</span> -a French merchant of Leghorn. At his death, -27th May, 1840, Paganini bequeathed it to his native -town, Genoa, where it is preserved in a glass case in -the museum.</p> -<div class="img"> -<img src="images/ill019a.png" alt="Joseph Guarnerius fecit {trademark: cross IHS} Cremonæ anno 17__" width="600" height="116" /> -</div> -<p><span class="ss">GUARNERIUS, PIETRO</span>, Cremona, eldest -son of Andreas, born 1655, and lived to an advanced -age. His first productions, which are of flat model, -are dated from Cremona, but later on he established -himself at Mantua, where he manufactured a great -quantity of instruments of undoubted merit, but -have the fault of too high an arching, and some -there are wanting in brilliancy of tone. His tickets -usually run:</p> -<div class="img"> -<img src="images/ill020a.png" alt="Petrus Guarnerius Cremonensis fecit Mantuæ sub. tit. Sanctæ Teresiæ 1693" width="600" height="115" /> -</div> -<p>This maker had a nephew also called Pietro, who -worked at Mantua from about 1725 to 1740, and -<span class="pb" id="Page_59">59</span> -subsequently in Venice till about 1755. He was a -pupil of his uncle, but his work is less esteemed.</p> -<p><span class="ss">LANDOLPHUS, CARLO</span>, Milan, 1750-1775, -reputed pupil of Guarnerius. This maker was -decidedly original in his pattern. Although his instruments -are not characteristic of great beauty as -regards outline, they possess a very pleasing tone. -He is one of the last of the old Italian school, consequently -his instruments are rapidly increasing in -value. The most striking point observable in his -work is the extremely weak and small scroll. He -left a number of instruments unpurfled and otherwise -in an unfinished state. Those with the light -red varnish are considered the best. He also made -some violoncellos of small size. Ticket:</p> -<div class="img"> -<img src="images/ill021a.png" alt="Carolus Ferdinandus Landulphus Fecit Mediolani in Via St. Margaritae Anno 1755." width="600" height="150" /> -</div> -<p><span class="ss">MAGGINI, GIOVANNI PAOLO</span>, born -1580, died about 1640. This distinguished maker is -the second representative of the Brescian school, -<span class="pb" id="Page_60">60</span> -and reputed pupil of Gasparo da Salo. According -to recent researches, Maggini was born in Botticino -Sera, a small village not far from Brescia.</p> -<p>Maggini’s instruments are in general of large -pattern; their proportions are similar to those of -Gasparo da Salo, and the style of workmanship -almost identical. The swell or arching is decided, -and reaches almost to the edges. The sides or ribs -are narrow; the bellies very strong and of good -quality, the backs generally thin, with the wood cut -on the layers. The varnish, which is remarkable for -its delicacy, is of a yellowish light brown colour; -sometimes, however, he used a brownish red varnish. -In either case it is of excellent quality. The extended -dimensions, and the proportion of the arching -relative to the various thicknesses of the wood, impart -to most of these instruments a superb, grave -and melancholy tone.</p> -<p>Another characteristic of this master’s productions -is found in his ornamentation. He generally -affected a double row of purfling and various other -decorations, and although Maggini was not alone in -this respect, he appears to be the last maker who -<span class="pb" id="Page_61">61</span> -relinquished the practice of introducing any ornate -addition, which, anterior to his period, was considered -so essential to the finish of an instrument.</p> -<p>Maggini is credited with being the first maker who -paid any real attention to the inside of the instrument, -having, it is said, introduced the side linings -and corner blocks, which have ever since been a <i>sine -qua non</i> of construction.</p> -<p>De Beriot, the great violinist, was an admirer of -Maggini’s violins.</p> -<p>Tickets of this celebrated maker are not dated. -The following is a copy of one:</p> -<div class="img"> -<img src="images/ill022a.png" alt="Paolo Maggini in Brescia" width="600" height="140" /> -</div> -<p><span class="ss">MONTAGNANA, DOMINIC</span>, Cremona and -Venice, 1700-1740. He was probably a pupil of -Nicolas Amati, whose model he at first copied, but -subsequently modified this for one of his own, of a -somewhat large pattern. The scroll is larger and -more powerful than that of his reputed master and -in the sound holes he also differs. As regards the -arching and outline, the Amati type is at once -<span class="pb" id="Page_62">62</span> -apparent. The varnish is superb, and of golden -brown transparency. The wood chosen is always the -very finest, and the workmanship is all that can be -desired. He also made some very fine violoncellos. -His best instruments, which are of great rarity, are -dated from Venice.</p> -<div class="img"> -<img src="images/ill023a.png" alt="Dominicus Montagnana Sub Si-|gnum Cremonæ Venetiis 1729." width="600" height="160" /> -</div> -<p><span class="ss">RUGERI, FRANCESCO</span> (Ruger or Ruggeri), -Cremona, 1670-1720. This excellent maker -was a pupil and follower of Nicolas Amati (some -writers say Hieronymus). His instruments are much -sought after, and, as a consequence, are extensively -copied and passed off as genuine. His varnish is -generally dark golden brown.</p> -<div class="img"> -<img src="images/ill024a.png" alt="Francesco Ruger detto il Per Cremona 1697" width="600" height="148" /> -</div> -<p><span class="ss">RUGERI, GIAM-BATTISTA</span>, supposed to -be a brother of the foregoing, pupil of Amati, born -at Cremona, 1660. He subsequently went to Brescia, -<span class="pb" id="Page_63">63</span> -where he worked from about 1670 to the end of the -century. Ticket:</p> -<div class="img"> -<img src="images/ill025a.png" alt="Io. Bap. Rogerius Bon: Nicolai Amatide Cremo-|na alumnus Brixiæ fecit Anno Domini 1671" width="600" height="112" /> -</div> -<p><span class="ss">SALO, GASPARO DA</span> (or Gasparo di Bertolotti), -born 1542, died 1612. This is the earliest -maker of whom any reliable record is extant. He is -said to have been born at Salo in Lombardy, and -afterwards to have settled in Brescia. Gasparo is -generally credited with the honour of inventing or -producing violins in their present shape. He seems -to have devoted his early period to the manufacture -of lutes and viols, and subsequently to have turned -his attention to the violin, which he greatly improved, -thereby founding the Brescian school of violin -makers; the earliest known. The violins of Gasparo -which have now become very scarce, do not, it is true, -exhibit that indication of finish so observable in the -instruments produced by his reputed pupil, Maggini, -but his model is excellent and the tone good, being -somewhat analogous to that of the tenor. The fact -<span class="pb" id="Page_64">64</span> -that Gasparo never dated his labels, makes it difficult -to determine with certainty the exact period of -his activity.</p> -<p>Facsimile label as follows:</p> -<div class="img"> -<img src="images/ill026a.png" alt="Gasparo da Salo, In Brescia." width="600" height="135" /> -</div> -<p><span class="ss">SERAPHIN, SANCTUS</span> (Santo Seraphino), -1710-1748, worked in Venice, and is considered one -of the most careful and painstaking makers of the -Italian school. His wood is beautifully figured and -well selected. His purfling is excellent, and he used -a fine brilliant varnish. He usually branded his instruments -near the button. Ticket as follows:</p> -<div class="img"> -<img src="images/ill027a.png" alt="Sanctus Seraphin Utinensis Fecit Venetiis Ann. 17__ {surrounded by decorative scrollwork}" width="600" height="257" /> -</div> -<div class="pb" id="Page_65">65</div> -<p><span class="ss">STORIONI, LORENZO</span>, Cremona, 1780-1798. -The last of the old Cremonese school. He -sometimes copied Joseph “del Jesù,” at others, he -followed his own originality. His instruments exhibit -great variation; notably in the position of the -sound holes, which he never placed twice alike. He -used a poor varnish which clearly indicates the -change of process which was then taking place. -Although these instruments are far from being -graceful in outline or beautiful in appearance, they -are capable of producing a good tone; in fact, in -Italy a good Storioni is highly spoken of. This -maker does not appear to have made many violas or -violoncellos. Ticket:</p> -<div class="img"> -<img src="images/ill028a.png" alt="Laurentius Storioni fecit Cremonæ 1723." width="600" height="147" /> -</div> -<p><span class="ss">STRADIVARIUS, ANTONIO</span>, the king of -fiddle makers, born at Cremona, 1644, died 1737. -This great master was an apprentice in the workshop -of Nicolas Amati. At the age of twenty-three years -he produced some violins, the exact reproductions of -<span class="pb" id="Page_66">66</span> -his master, and into which it is said he placed the -labels of Nicolas. In the year 1670 he signed his -instruments with his own name. From that date, -until about 1690, he produced but few instruments, -and it is conjectured, that during this period of -twenty years, his labours and researches were more -in the nature of experiments than of commercial -enterprise.</p> -<p>From the year 1690 the individuality of Stradivarius -began to assert itself. It was then that he -began to give greater amplitude to his model. He -reduced the high arching hitherto prevailing, and -determined with much nicety the various thicknesses -of wood, but he still retained many of the chief -characteristics of his master. The productions of -this period are called “Long Strads.” From 1700 -to 1725 Stradivarius was in the full lustre of his -fame. During this period he made those masterpieces -known as the “Grand Pattern.” “He no -longer felt his way, but being certain of all that he -did, he carried his manufacture, even to the minutest -details, to the highest possible finish, especially with -<span class="pb" id="Page_67">67</span> -regard to the varnish, the quality of which is fine -and extremely supple.”</p> -<p>“The workmanship of the interior of the instrument -displays no less perfection; all is there finished -with the greatest care. The degrees of thickness are -adjusted in a rational manner, and are remarkable -for a precision which could not have been attained -except by long study and experiment. The back, -the belly, and all the parts of which the instrument -is composed, are in a perfectly harmonious relation. -It was, doubtless, repeated trials and diligent observations, -which also led Stradivarius, throughout -this period of his productive career, to make the -blocks and sides of his violins of willow, the specific -lightness of which surpasses that of every other -wood. In short, everything had been foreseen, calculated, -and determined with certainty, in these admirable -instruments. The bar alone is too weak, in -consequence of the gradual rise in the pitch, from -the beginning of the eighteenth century; the inevitable -result of which has been a considerable increase -of tension, and a much greater pressure exercised on -the belly. Hence the necessity has arisen for re-barring -<span class="pb" id="Page_68">68</span> -all the old violins and violoncellos.” Such -is Fétis’s description of this grand period.</p> -<p>From 1725 to 1730, Stradivarius produced fewer -instruments than he had previously done in the same -period of time. Although they are very good, the -workmanship no longer displays the same perfection. -The arching becomes more rounded, which -tends to impair the clearness of the sound, and the -varnish is brown.</p> -<p>After the year 1730, the master exhibits a decided -falling off. Stradivarius, in his eighty-sixth year, -still, however, continued at his bench, assisted by his -two sons, Omobono and Francisco, and his pupil, -Carlo Bergonzi, who partially, if not wholly, kept -the business going. Stradivarius signed many of his -instruments as having been made simply under his -direction. After the death of this great maker, many -instruments which remained unfinished in his workshop -were completed by his sons. Most of these instruments -bear the father’s name.</p> -<p>Stradivarius died at the great age of ninety-three -years, and he was buried in the Cathedral of -Cremona.</p> -<div class="pb" id="Page_69">69</div> -<p>Facsimile of a written ticket:</p> -<div class="img"> -<img src="images/ill029a.png" alt="{handwriting}" width="600" height="135" /> -</div> -<p>Facsimile of a printed ticket:</p> -<div class="img"> -<img src="images/ill030a.png" alt="Antonius Stradiuarius Cremonensis Faciebat Anno 1719 {trademark cross above A S}" width="600" height="142" /> -</div> -<p><span class="ss">STRADIVARIUS, FRANCISCO</span>, Cremona, -born 1671, died 1743. <span class="ss">STRADIVARIUS, -OMOBONO</span>, born 1679, died 1742. These two -were sons and pupils of the great Stradivarius, and -the only members who followed their father’s calling, -with whom they worked until his death; the -father during the latter period of his life, signing -the instruments “sub disciplinâ Antonii Stradivarius.” -After the death of their illustrious father, -they each worked on their own account. Francisco -is reputed to have manufactured some good violins -from 1725 to 1740; his brother chiefly occupying -<span class="pb" id="Page_70">70</span> -himself in repairing. The productions, however, of -these two brothers sink into insignificance when compared -with those of their renowned father.</p> -<div class="img"> -<img src="images/ill031a.png" alt="Franciscus Stradivarius Cremonensis Filius Antonii faciebat Anno 1742 Omobonus Stradiuarius figlij Antonij Cremone Fecit Anno 1740 {trademark a T s}" width="600" height="245" /> -</div> -<p><span class="ss">TECHLER, DAVID</span>, Rome, 1680-1740. He is -said by some to be a pupil of Stainer, from the fact -that he produced instruments of that type. He -first worked at Salzburg, then at Venice, and finally -at Rome, where he gained much experience. Instruments -of this latter city are of the Italian model. -His work proves him to have been a careful and -studious maker. The varnish is usually deep yellow. -Label:</p> -<div class="img"> -<img src="images/ill032a.png" alt="David Tecchler Liutaro Fecit Romæ Anno 1703." width="600" height="142" /> -</div> -<div class="pb" id="Page_71">71</div> -<p><span class="ss">TESTORE, CARLO GUISEPPE</span>, Cremona. -Flourished 1690-1720. He produced instruments of -good quality both as regards finish and tone; his -model being Guarnerius. His instruments are -eagerly sought after by those who desire to become -possessed of a good old Italian instrument, but are -unwilling or unable to give a fancy price. These -instruments are, however, gradually rising in value.</p> -<p><span class="ss">TESTORE, CARLO ANTONIO</span>, Milan, -1730, and <span class="ss">TESTORE, PAOLO ANTONIO</span>, -Milan, 1740, sons of Carlo Guiseppe. They made -excellent instruments after the model of their father, -and the tone is good. Paolo frequently left his instruments -unpurfled.</p> -<div class="img"> -<img src="images/ill033a.png" alt="Carlo Antonio Testore figlio maggiore del fu Carlo Giuseppe in Contrada lar-|ga al segno dell’ Aquila Milano 1741." width="600" height="119" /> -</div> -<div class="pb" id="Page_72">72</div> -<h3 id="c6">II.—GERMAN AND TYROLESE.</h3> -<p><span class="ss">BACHMANN, CARL LUDWIG</span>, of Berlin -(1716-1800). This maker was one of the most celebrated -of the German school. He made his instruments -rather strong in the wood, but now that age has -been at work on them, they possess the advantage of -being formed into first-class instruments by skilful -repairers.</p> -<p><span class="ss">BENTE, MATTEO.</span> A maker of the Brescian -school, flourished about 1580. He made some good -violins, which are chiefly to be found in collections.</p> -<p><span class="ss">BUCHSTETTER, GABRIEL DAVID</span>, a -native of Ratisbon, flourished in the latter part of -the eighteenth century. He copied the Cremonese -makers and used a brown varnish. His wood is -rather coarse-grained, consequently his instruments -are not very highly esteemed.</p> -<div class="pb" id="Page_73">73</div> -<p><span class="ss">BUCHSTETTER, JOSEPHUS</span>, son of -Gabriel David. Made some instruments of good -quality and tone, and adopted a flat model.</p> -<p><span class="ss">EBERLE, ULRIC</span>, of Prague, about 1750, an -eminent German maker, whose instruments at one -time were considered nearly equal to the best Italian -makers.</p> -<p><span class="ss">HELMER, CHARLES</span> (<span class="ss">CAROLUS</span>), of -Prague, a pupil of Eberle. He made some very fine -instruments. Otto says: “They have, however, the -fault that the three upper strings improve greatly -by being played on, but the G string, in most of -them, remains so far inferior, that while the tone of -the former is such as may be expected from a full -sized violin, that of the latter only resembles a child’s -toy-instrument. Yet an experienced maker would -find no difficulty in correcting this fault.”</p> -<p><span class="ss">HOFFMANN, MARTIN</span>, one of the earliest -representatives of the German school, flourished -in Leipzig in the latter part of the seventeenth century. -He was better known as a lute-maker. He -made violins possessing excellent tone, but they do -<span class="pb" id="Page_74">74</span> -not find much favour by reason of their ungainly -appearance.</p> -<p><span class="ss">JAUCH</span> (or <span class="ss">JAUG</span>), of Dresden, early part of -eighteenth century. The best description of this -maker’s instruments is that contained in Otto’s -treatise. “Jauch,” he says, “has manufactured very -good violins on the model of the Cremonese, and -displayed, in his beautiful and excellent workmanship, -a thorough knowledge of the wood, and of -the due proportions of strength required in the -respective parts of the instrument. But his violins -produce a very weak squally tone, when they have -been carelessly repaired; though even in this case -they may be often restored and brought nearly to -equal the Italian, by placing them in the hands of -an experienced maker, possessing a knowledge of -mathematics and acoustics, without which they will -be completely spoiled.”</p> -<p><span class="ss">KLOTZ FAMILY.</span> This group represent well-nigh -a century of activity, i.e., from about 1670 to -about 1760.</p> -<p><span class="ss">KLOTZ, EGIDIUS.</span> Born in Mittenwald. -When young he quitted his native village and placed -<span class="pb" id="Page_75">75</span> -himself under Stainer at Absam. Having learnt the -art under this celebrated maker, he returned to his -native place and set up in business on his own account, -and soon gained considerable renown as a -maker of superior instruments, so much so that his -productions for some time almost eclipsed those of -his master. Even now a sound specimen—which is -rarely seen, is not lightly passed over. His instruments -possess a fine and powerful tone.</p> -<p><span class="ss">KLOTZ, MATHIAS</span>, 1653-1745. Worked for -about twenty years in Mittenwald, during which -period he produced instruments of an unsatisfactory -nature. He appears to have been aware of this, and -with the object of increasing his knowledge, he -undertook a journey to Florence and Cremona and -other centres of violin industry. With his newly-acquired -experience he returned to his native place -and established himself in rather a large way.</p> -<p><span class="ss">KLOTZ, SEBASTIAN</span>, son of Mathias -(1700-1760). The instruments of this maker are a -decided improvement, both as regards pattern and -tone. He adopted a somewhat flat model and -coated his instruments with a superior varnish to -<span class="pb" id="Page_76">76</span> -that previously used by the family. His instruments -are highly valued.</p> -<div class="img"> -<img src="images/ill034a.png" alt="Sebastian Kloz, in Mittenwald." width="600" height="162" /> -</div> -<p>With regard to the other members of the family, -great confusion exists in the minds of writers as to -how they stood in point of relationship one with the -other. In name they are: George (1723-1797), Joseph -(1730-1760), Joan Carol (about 1780), Michael (about -the same period).</p> -<p>Spurious instruments bearing the name of Klotz -or Clotz flood the market, and the uninitiated should -regard them with grave suspicion, unless or until the -advice of a competent expert has been obtained as -to their genuineness or otherwise.</p> -<p><span class="ss">RAUCH, THOMAS</span>, of Breslau. Made some -very good violins in the early part of the eighteenth -century. He worked on an original model, and made -instruments noted for their powerful tone.</p> -<p><span class="ss">RUPPERT</span>, of Erfurt, a maker who worked on -an extremely original model. He made all his instruments -<span class="pb" id="Page_77">77</span> -very flat in model, and dispensed with the -side linings and corner blocks, and omitted the purfling. -The front and back tables were, however, -made with due regard to thicknesses, which redeemed -them somewhat from the defects above mentioned. -The instruments possess a good tone and fine examples -are highly priced.</p> -<p><span class="ss">SCHEINLEIN, MATTHIAS FREDERICK</span>, -of Langenfeld (1730-1771). Made fine instruments -which, in his time, were in great demand. -He made them too weak, consequently many of them -are now practically spoiled by subsequent repairing.</p> -<p><span class="ss">STAINER, JACOBUS</span>, born at Hall, near -Absam—a short distance from Innsbruck—July 14, -1621, died at Absam, 1683. This maker is the most -renowned of the German school, concerning whose -early career the following account has been handed -down. A priest residing in the district of Absam took -a fancy to young Jacob, and had him sent to Innsbruck -to learn the art of organ building under one Daniel -Herz. This calling not suiting the youth’s inclinations, -his master advised him to learn the art of -violin making. Stainer then went to Cremona, and -<span class="pb" id="Page_78">78</span> -placed himself under Nicolas Amati, who soon recognised -the talent of his young pupil, and took -great pains in instructing him in the secrets of the -art. He then quitted Cremona, and for a short time -worked in Venice under Vermercati, who at that time -was a maker of some merit. With an accumulation -of experience gained in the best schools of -the time, Stainer finally returned to Absam and -settled there as a maker of violins on his own account. -In the year 1645 he married a Margaretha -Holzhammer, by whom he had several children. His -renown as a violin maker rapidly increased, but for -some reason or other he found it difficult to provide -for the wants of himself and family, and he was -compelled to travel about the country in order to -dispose of his instruments. However, in 1658, he -was appointed court violin maker to the Archduke -Leopold, and in 1669 received the distinction of -“Maker to the Emperor”; but all these advantages -and honours contributed but little to raise him from -his chronic state of poverty. He now began to experience -some bitter reverses. A certain creditor of -his, named Solomon Heubnar, with whom he at one -<span class="pb" id="Page_79">79</span> -time lived (Stainer left him without paying for his -board) lodged an information against him charging -him with the crime of heresy. He was seized and -thrown into prison, and remained there six months, -at the expiration of which he found himself utterly -ruined and poverty stared him in the face. He was -then persecuted by Count Albert Fugger for certain -dues which it was customary to levy on court tradesmen. -Stainer petitioned the Emperor to waive this -claim, but to no purpose, his supplication being ignored, -it is thought, in consequence of his previous -conviction for the alleged heresy. Stainer then fell -into a state of abject misery, neglected his work, -and finally died out of mind. It will therefore be -seen that this renowned maker worked under most -distressing conditions, and it is a marvel that he was -able to produce anything worthy of subsequent -copying. Stainer’s house is still pointed out, and, -it is said, the bench to which he was bound -when mad.</p> -<p>Another story which has gained currency in some -quarters, but in others said to be mythical, recounts -that at the latter period of his life he abandoned -<span class="pb" id="Page_80">80</span> -his calling and became an inmate of a Benedictine -monastery. Here, with the assistance of a brother -monk, he contrived to get together sufficient materials -for the manufacture of sixteen violins of great -beauty. These apparently fabulous fiddles are -known as the “Elector” Stainers from the circumstance -that each Elector was supposed to be the recipient -of one of these instruments, the remaining -going to the Emperor of Germany. For information -concerning the instruments made by this -unfortunate fiddle maker, the best is that contained -in the treatise of Jacob Augustus Otto, maker to the -Court of the Archduke of Weimar, translated from -the German by Thomas Fardely, of Leeds (1833), -and since then by the late Mr. Bishop, of Cheltenham -(William Reeves, London).</p> -<p>Otto says: “The instruments made by Jacob -Stainer differ from the Cremonese both in outward -shape and in tone. They are higher modelled, and -their proportions of strength are calculated quite -differently. The nearest comparison which can be -drawn between a Cremonese and a Stainer is this: -a Cremonese has a strong reedy, sonorous tone -<span class="pb" id="Page_81">81</span> -something similar to that of a clarionet, while a -Stainer approaches to that of a flute. The belly is -modelled higher than the back. The highest part -of the model under the bridge extends exactly one -half of the instrument towards the lower broad part -and then diminishes towards the end edge. It decreases -in a like manner at the upper broad part -towards the neck. The breadth of this model is uniformly -the same as that of the bridge, from which -it diminishes towards the side edge. The edges are -very strong and round. The purfling lies somewhat -nearer to the edges than in the Cremonese, and is -likewise narrower than in the latter (the Cremonese) -in which it is very broad. The <i>f</i> holes in Stainer -instruments are very beautifully cut, and the upper -and under turns are perfectly circular. In length -they are somewhat shorter than the Cremonese. The -neck is particularly handsome, and the scroll is as -round and smooth as if it had been turned. Some -few have lions’ heads, which are extremely well -carved. The sides and the back are made of the -finest figured maple and covered with a deep yellow -amber varnish. In some the screw (peg) box is -<span class="pb" id="Page_82">82</span> -varnished dark brown and the belly deep yellow. -The above are the most accurate marks by which the -genuine Stainer instruments may be distinguished. -They are rarely to be found with any labels inside, -but in the few which are to be met with of the genuine -instruments bearing any inscription, they are -simply written, not printed. In the Tyrolese imitations -of Stainers they are all printed. In the -genuine Cremonese instruments they are likewise invariably -printed.”</p> -<p>Genuine Stainers with labels have this written inscription: -“Jacobus Stainer in Absam prope Œnipontum -h-fis 165-.” The following is a facsimile:</p> -<div class="img"> -<img src="images/ill035a.png" alt="Jacobus Stainer in Absam prope Œnipontum h-fis ’65" width="600" height="144" /> -</div> -<div class="pb" id="Page_83">83</div> -<h3 id="c7">III.—FRENCH.</h3> -<p><span class="ss">BOQUAY, JACQUES.</span> Paris, about 1700-1735. -One of the earliest of the old French school. -Under whom he learnt the art of violin making is -not known, but his instruments, as also those of his -contemporaries, clearly indicate that the Italian influence -was suffusing itself in no uncertain manner. -It appears that about the middle of the sixteenth -century, one Nicolas Rénault, a French viol and -lute maker, travelled into Italy and became associated -with Andreas Amati, and even assisted that -maker in the manufacture of certain instruments for -the chapel of Charles IX, in 1566, and, after a somewhat -lengthened stay in Italy, he returned to France -the gainer of considerable experience. Here, perhaps, -may be the explanation why Boquay and the -rest of the early French school principally adhered -<span class="pb" id="Page_84">84</span> -to the Amati model. Later on Boquay sought to -become original, notably with regard to the sound -holes and the scroll. The tone is sweet, but lacks -power.</p> -<div class="img"> -<img src="images/ill036a.png" alt="JACQUES BOQUAY RUE D ARGENTEUIL A PARIS, 17" width="600" height="198" /> -</div> -<p><span class="ss">COMBLE, AMBROISE DE</span>, Tourney, -Belgium (1730-1760). The best maker of the old -French school, and reputed pupil of Stradivarius. -Although the instruments of de Comble cannot be said -to be on the model adopted by the great Cremonese -maker during his best period, there is nevertheless some -indication to lead to the belief that he endeavoured -to follow the renowned artist in the matter of varnish. -In this respect he was fairly successful. His instruments -are rather flat and of large pattern, somewhat -on the lines of Stradivarius’s later productions, and -although they are not characteristic of refined workmanship, -the material chosen was of the best quality. -He made his instruments strong in the wood, consequently -they possess a very full and rich tone. De -Comble also made some excellent violoncellos.</p> -<div class="pb" id="Page_85">85</div> -<p><span class="ss">LUPOT, NICOLAS</span>, born at Stuttgart, 1758, -died in Paris, 1824, founder of the modern school -of violin making. His father, also a maker of some -merit, removed to Orléans in the year 1770, and in -this town instructed his son in the art which was -destined to make his name famous. During his -pupilage Nicolas set himself to study the instruments -of the great Italian makers, especially those -of Stradivarius, and in the result he elected to adopt -the model of this master, from which he seldom, if -ever, departed. With such diligence and enthusiasm -did he labour to produce something akin to his ideal -that he soon was able to turn out an instrument -that suffered but little on comparison with the -Italians of the first water. Thus a most beneficial -influence in the art of violin making became propagated. -In 1798 Nicolas quitted Orléans for Paris -and established himself in business, and there for -twenty-six years he carried on a labour of love -which, as well, produced considerable pecuniary -benefits. Lupot had not been long in Paris before -his work claimed the attention of the Conservatoire, -then but recently formed, and he was accordingly -<span class="pb" id="Page_86">86</span> -appointed violin maker to that excellent institution: -he was similarly appointed to the Chapel Royal. It -is not difficult to imagine that Lupot endeavoured -to revive the lost art of making the old Italian -varnish, judging from the various qualities with -which he was wont to cover his instruments. In this -respect, however, he cannot be said to have been successful, -but what he did use ranks high as a modern -varnish. The instruments of this maker are highly -prized, especially those made between 1805 and 1824. -An impetus was probably given to the value of -Lupot’s violins from the circumstance that the celebrated -Spohr played for a long time on a Lupot, -the tone of which he declared was “full and powerful”; -in fact, the great virtuoso only parted with -this instrument on becoming possessed of a Strad. -Lupot appears to have been almost as uncertain -about his labels as he was concerning his varnish. -At Orléans he adopted a Latinised inscription, and -in Paris, three labels have been noticed variously -worded. The following are copies of some -labels:</p> -<div class="pb" id="Page_87">87</div> -<p>N. Lupot fils, Luthier, rue d’Illiers, à Orléans, -l’an 17—.</p> -<p>Nicholas Lupot, Luthier, rue de Grammont, à Paris, -l’an 17—.</p> -<p>Nicholas Lupot, rue Croix des petits champs, à -Paris, l’an 1817.</p> -<p>Nicholas had a brother named François, who became -celebrated as a maker of bows.</p> -<p><span class="ss">VUILLAUME, JOHN BAPTISTE</span>, born at -Mirecourt, October 7, 1798, died February 19, 1875; -the greatest violin maker and copier of modern -times. It is not precisely known under whom he -received his first instruction in the art of violin -making. Some say his father, one Claude Vuillaume, -born at Mirecourt in 1771, died 1834, whilst -others maintain that the father was not a fiddle -maker, but a carrier between Mirecourt and Nancy. -At all events, at the age of nineteen, he was engaged -by François Chanot, a violin maker of repute, who -had just about that period established a workshop -for the manufacture of a new-shaped violin, which -had been patented, so it is not unlikely that François -Chanot was his first real master. He next engaged -<span class="pb" id="Page_88">88</span> -himself with one Lété, an organ builder, who -dealt in violins, and ultimately became a partner in -the concern. In 1828 he parted from Lété and continued -in business alone. During this period he -found great difficulty in disposing of his instruments; -the rage being for those of Italian manufacture. -He thereupon took to fabricating copies of -the old masters, and his operations in this line appear -to have been attended with great success. As -a large number of old instruments, Italian and -others, passed through his hands for repair, Vuillaume -had ample opportunity afforded him for -studying and ascertaining the inward and outward -conditions necessary for the production of good -tone, and this advantage he was not slow to avail -himself of. Fortified with a vast amount of experience, -combined with much knowledge gained by experiment, -Vuillaume was in course of time enabled -to produce an instrument in all but one point equal -to the greatest Italian masters, the condition wanting -being that of age. In some cases, possibly -through stress of trade, Vuillaume endeavoured to -supply this deficiency by giving to his instruments -<span class="pb" id="Page_89">89</span> -an appearance of wear and long usage. In his -latter years, however, he relinquished this pernicious -practice. The climax of his skill as a copyist was -reached on the occasion when he reproduced a facsimile -of Paganini’s famous Guarnerius, entrusted -for repair. This copy was so marvellous in its similarity -with the original, both as regards appearance -and tone, that the great virtuoso himself failed to -recognise his own instrument, and Vuillaume had to -point it out to him. In addition to his high capabilities -as a violin maker, Vuillaume was renowned as -a bow maker, and effected some improvements in that -important adjunct, and on the whole proved himself -a genius of uncommon order.</p> -<div class="img"> -<img src="images/ill037a.png" alt="Jean Baptiste Vuillaume à Paris Rue Croix des Petite Champs {trademark: double circle containing cross over BV}" width="600" height="111" /> -</div> -<div class="pb" id="Page_90">90</div> -<h3 id="c8">IV.—BRITISH.</h3> -<p><span class="ss">WILLIAM ADDISON—THOMAS COLE—EDWARD PAMPHILON—PEMBERTON—THOMAS URQUHART—CHRISTOPHER WISE.</span></p> -<p>This group represents the early English school -and the principal makers existing during the seventeenth -century. It may reasonably be inferred that -they were more at home with the viol than with the -violin as known to-day. Little can be said concerning -their early productions, as they are now all but -extinct; a great portion of them probably perished in -the great fire of London in 1666, in which city some -of them were supposed to have worked.</p> -<p>Christopher Wise is said to have made some fairly -good instruments of a highly decorative nature.</p> -<div class="pb" id="Page_91">91</div> -<p>Jacob Rayman was the better artist, and some instruments -attributed to him reflect great credit on -this early school.</p> -<p>Thomas Urquhart was a still further advance, his -outline and varnish places him in the front rank of -the period.</p> -<p>Edward Pamphilon made instruments of a very -tubby appearance, but they are said to possess a clear -and penetrating tone; age, too, has imparted a very -rich colouring to the varnish.</p> -<p>Several other names have been handed down, but -as they are minus the instruments, nothing of importance -can be said on the subject.</p> -<p>Aldred and Bolles are mentioned in Mace’s -“Musick’s Monument.”</p> -<p><span class="ss">ADDISON, WILLIAM</span>, was a maker of viols -and early violins in the middle of the seventeenth -century. He worked in Moorfields, London.</p> -<p><span class="ss">AIRETON, EDMUND.</span> A London maker -about the middle of the eighteenth century. He -copied successively the instruments of Stainer, Amati -and Stradivarius, but those on the Amati model are -most admired.</p> -<div class="pb" id="Page_92">92</div> -<p><span class="ss">BANKS FAMILY.</span> They rank among the best -makers of English violins, and genuine specimens -are eagerly sought after and realise good -prices.</p> -<p><span class="ss">BANKS, BENJAMIN.</span> Born July 14, 1727, -died February 18, 1795. Accounts differ as to the -place of his birth, but as his parents were living in -Salisbury in the year 1725, it is generally supposed -he was born in that town.</p> -<p>Banks has been justly termed “the English -Amati,” and this comparison is well deserved. His -fiddles are faithful copies of the great Italian, both -as to model and varnish. These instruments are, -however, very rare, and fiddles of this model offered -as genuine Benjamins should only be purchased with -the advice of experts.</p> -<p>Benjamin also made instruments for the then well-known -music-firm of Longman and Broderip in -London. These were made on a different model, -somewhat after the Stainer model, and they are -greatly inferior to his favourite Amati fiddles, the -finish and varnish indicate hurry and carelessness. -These fiddles are labelled with the name of the firm -<span class="pb" id="Page_93">93</span> -for whom he worked. I have seen many fiddles -bearing the name of Longman and Broderip and -said to have been made by Benjamin Banks. The -majority of them are, however, spurious. It has -been the custom of many dealers to cut off the name -of Longman and Broderip from the bottom of the -published music of that firm and insert these in -fiddles, and as Benjamin Banks was known to have -worked for them, some show of genuineness is -thereby implied.</p> -<p>Banks made a number of violas and violoncellos. -The latter instruments stand pre-eminent for workmanship -and tone and are particularly well adapted -for the performance of solo and chamber music. -This maker adopted a variety of methods for stamping -and otherwise labelling his instruments. Below -the button was the favourite place.</p> -<p>The labels mostly seen are:</p> -<p>Made by Benjamin Banks, Catherine Street, -Salisbury.</p> -<p>Benjamin Banks, fecit Salisbury.</p> -<p>Benjamin Banks, Musical Instrument Maker, In -Catherine Street, Salisbury.</p> -<div class="pb" id="Page_94">94</div> -<p>B. Banks, Sarum. “B. B.” stamped under the -button.</p> -<p>The varnish used by Banks varied from a deep -red to a yellow brown.</p> -<p>One word of advice, beware of the unredeemed -pledge.</p> -<p><span class="ss">BANKS, BENJAMIN.</span> Son of the preceding; -born at Salisbury, 1754, died in Liverpool, -1820. He worked at first for his renowned father, -afterwards removing to London, where, possibly, he -assisted in making the Longman and Broderip instruments. -He then went to Liverpool and worked -there until his death. Very little is known of him -or his works, though it is possible that many of his -instruments have been passed off as the work of his -father.</p> -<p><span class="ss">BANKS, JAMES</span> and <span class="ss">HENRY</span>, two other -sons of the great Benjamin, and successors to the -business at Salisbury, where they were both born, -James about 1756, died 1831; Henry, 1770, died -1830.</p> -<p>James was the violin maker of the concern, while -Henry devoted himself to tuning pianofortes and -<span class="pb" id="Page_95">95</span> -repairing instruments. Sometimes, however, they -collaborated in the production of violins and violoncellos. -They also extended the sphere of their operations -to music selling and dealt in other musical -instruments. The fame of the Banks family as -violin makers declined at this period.</p> -<p><span class="ss">BARRETT, JOHN.</span> A London maker, who -worked about 1725. He made some good instruments -which are dated from the Harp and Crown in -Piccadilly. He followed the Stainer model. His -varnish is unsatisfactory.</p> -<p><span class="ss">BETTS, JOHN</span>, London, born at Stamford in -1755, died 1823. This excellent maker was a pupil -of Duke, and adopted the Amati model. He was -not himself a prolific maker, his time being principally -occupied in the study of old Italian instruments, -the result of which enabled him to become a -very successful dealer and connoisseur. Betts, or -“old John,” as he was most commonly called, carried -on an extensive business in the construction of -violins, and employed in his workshop such men as -John Carter, Edward Betts, Panormo, Bernhard -Fendt, all of whom subsequently succeeded in -<span class="pb" id="Page_96">96</span> -making good instruments on their own account. -Betts’s shop was No. 2 near Northgate of the Royal -Exchange, and after his death the business was continued -by his descendants till within a few years -ago.</p> -<p><span class="ss">DUKE, RICHARD</span>, London, about 1765-1791. -Probably no violin of English make has attained -such popularity as have the instruments of this -maker, hence it is that he is so extensively imitated. -Who instructed him in the art of making violins, -etc., is not positively known, but his instruments are -of the highest order in all respects but the varnish, -in which he was not always successful. Duke followed -both the Stainer and Amati models, the latter -being his best. His violoncellos are rather high in -model, long in pattern, yellowish varnish and rich -in tone. For his violins he used a dull brown varnish, -very elastic and transparent. During a considerable -period Duke worked in the vicinity of -Holborn. Many of his instruments are stamped near -the button “Duke, London.”</p> -<p>Labels, mostly written in pen and ink, are as -follows:</p> -<div class="pb" id="Page_97">97</div> -<p>Richd. Duke, Londini, fecit 1767.</p> -<p>Richard Duke, Maker, Holborn, London, Anno -1777.</p> -<p>The following is a copy of a printed one:</p> -<p>“Richard Duke, Maker, near opposite Great Turn-Stile, -Holbourn, London.”</p> -<p><span class="ss">FENDT, BERNHARD</span>, born at Inspruck, in -the Tyrol, in 1756, died in London in 1832. He was -at first instructed in the art of violin making by his -uncle in Paris, who spelt his name Fent, a maker -there of some reputation. Bernhard then came to -London and entered the service of Thomas Dodd, -the bow maker, and remained with him several years, -working in conjunction with John Frederick Lott. -They were never entrusted to carry their work -beyond the white, and the instruments turned out by -this pair were delivered to their master, who applied -the varnish with his own hand, the secret of which -he kept carefully to himself.</p> -<p><span class="ss">FORSTER, WILLIAM</span>, known as “Old” -Forster, born at Brampton, Cumberland, May, -1739, died in London, December 14, 1808. The -name of Forster in connection with violin making -<span class="pb" id="Page_98">98</span> -includes a family whose operation extended over -a very considerable period, but the artist under -notice was <i>the</i> fiddle maker of the group, and -his instruments to-day reflect great credit on the -British school of a century ago; indeed his instruments, -whether they be violins, violas or violoncellos, -are pre-eminent amongst the productions of this -country. His father pursued two occupations, viz., -that of spinning-wheel maker and violin maker and -repairer; instructions in which handicrafts were -duly imparted to the son, who also became -tolerably proficient as a violinist. In consequence -of some family differences, the young man quitted -his native village and proceeded to London, arriving -there in 1759. His first endeavours in the -metropolis were unsuccessful, and he was forced to -accept some employment offered him by a gun-stock -maker. However, he did not forsake the art he -loved, and his spare time was occupied in making -violins, which he disposed of to the music shops. -During this time he suffered great hardship and -privation, the effects of which were never afterwards -entirely eradicated. At length he obtained employment -<span class="pb" id="Page_99">99</span> -as a violin maker at a music shop on Tower -Hill kept by one Beck, and the violins he made -during his two years’ engagement there, gaining -much recognition, he not unnaturally demanded an -advance in wages. This was refused, and Forster -consequently left him. In 1762 he commenced business -on his own account at a house in Duke’s Court, -and there his artistic abilities procured for him the -attention and patronage of the musical dilettanti. -He then moved into St. Martin’s Lane, and added -music publishing and selling to his business, and at -this period he was wont to cut his name from the -title-pages of his soiled or unsold music and use it -as a ticket for his instruments. In 1781 he entered -into negotiations with Haydn for the supply and -publication of certain pieces of music for the string -family, which resulted, it would appear, in a great -success all round. About 1784, Forster opened in -the Strand—No. 348, and here the climax of his success -was attained, even to the extent of receiving -Royal patronage. From the year 1762 to 1770 he -adopted the Stainer model, and applied to his instruments -some sort of dark stain, completing the -<span class="pb" id="Page_100">100</span> -operation with a coat of varnish. From 1770 or -thereabouts he affected the Amati pattern with -greater success, and this refers particularly to his -violoncellos, as they are really grand instruments, -better varnish is used and greater attention is paid -to detail. Robert Lindley, the famous violoncellist, -used one of Forster’s instruments at the Italian Opera -for nearly forty years; he named it “The Eclipse.” -Crossdill had a famous one, and Cervette the -younger had another. Only four double basses are -known to have been made by William Forster. His -commoner instruments are devoid of purfling. -Ticket: “William Forster. Violin Maker in St. -Martin’s Lane, London.”</p> -<p><span class="ss">FORSTER, WILLIAM</span>, son of “Old” Forster. -Born 1764, died 1824. He was a violin maker -and repairer of some merit, but never attained the -reputation of his father. He left his instruments -unpurfled.</p> -<p><span class="ss">KENNEDY, ALEXANDER</span>, came from Scotland -about 1700 and established himself in London, -He was a painstaking workman, and gained a good -<span class="pb" id="Page_101">101</span> -reputation. He followed the Stainer model and -used a light amber varnish.</p> -<p><span class="ss">KENNEDY, JOHN</span>, nephew and pupil of the -foregoing, followed the same model, and produced -some good violins and tenors.</p> -<p><span class="ss">KENNEDY, THOMAS</span>, the best known of -the family. He made a large number of violins and -’cellos.</p> -<p><span class="ss">NORMAN, BARAK</span> (1688-1740). He was -chiefly a maker of viols, but has made violas and -violoncellos, and a few violins on the Stainer model; -his best productions being copies of Maggini. He -was probably a pupil of Urquhart, if one may judge -from their respective works. As a maker of viols -he was much esteemed in his day; all his instruments -of this class indicate careful workmanship. -As no British violoncello has been discovered anterior -to those manufactured by Norman, it is -thought that he may have been the first maker of -that instrument in this country. They are splendid -instruments and much valued. His violas also are -fine specimens, and consequently highly prized by -performers on that instrument. Between the years -<span class="pb" id="Page_102">102</span> -1715 and 1720 Barak Norman entered into partnership -with one Nathaniel Cross, at the sign of the -“Bass Viol,” St. Paul’s Churchyard. Barak resorted -to various methods in order to distinguish his instruments, -sometimes his monogram is purfled in the -centre of the back, and occasionally, in the case -of violoncellos, on the top table under the wide -part of the finger-board. When he became associated -with Cross, the joint monogram was used. -The following is a copy of a printed label used by -the firm:</p> -<p>“Barak Norman and Nathaniel Cross, at the Bass -Viol in St. Paul’s Churchyard, London, fecit 172—.”</p> -<p><span class="ss">WAMSLEY, PETER</span>, London (1727-1760). -He was at one time considered a clever maker of -violas and violoncellos, but having resorted to the -unfortunate practice of thinning the wood in his -endeavour to secure a freer tone, his instruments at -the present day lack power and sonority. They are, -however, capable of great improvement in the hands -of a skilful repairer. He adopted the Stainer model, -and at times proved himself to be a first-class workman. -Most of his instruments have only ink lines -<span class="pb" id="Page_103">103</span> -instead of purfling. Wamsley made a few double -basses, but they are now very scarce. The best instruments -of this maker are those covered with a -dark brown varnish. For a great number of years -Wamsley carried on business in Piccadilly, and used -labels, copies of which are as follows:</p> -<p>Made by Peter Wamsley at the Harp and Hautboy -in Pickadilly, 1735.</p> -<p>Peter Wamsley Maker at the Harp and Hautboy -in Piccadilly, 17 London 51.</p> -<div class="img"> -<img src="images/ill038a.png" alt="Made by Peter Wamsley at ye GoldenHarp in Pickadilly London," width="600" height="237" /> -</div> -<div class="pb" id="Page_105">105</div> -<h2 id="c9">PART III. -<br />ON THE DEVELOPMENT OF CLASSICAL MUSIC FOR THE VIOLIN AND OTHER STRINGED INSTRUMENTS.</h2> -<p>The term “classical” as applied to music is a composition -against which the destroying hand of time -has proved powerless (Riemann), in other words, -works which have been handed down to us by the -old composers, and which at the present day are -recognised as models of purity in musical art, are -now considered as classical compositions.</p> -<p>Coeval with that remarkable epoch when the -violin assumed its present admirable and unalterable -form, which culminated with the closing year -<span class="pb" id="Page_106">106</span> -of the sixteenth century, is the dawn of musical composition -for the instrument, and the musicians of the -time vied with each other in producing works calculated -to raise the violin from its hitherto subordinate -rank as a mere accompanist to its proper -position as a solo instrument, thereby ensuring prominence -and with it rapid popularity.</p> -<p>It is to Italy that we have to turn for any certain -knowledge of the earliest classics, and the -first to claim our attention is Arcangelo Corelli -(1655-1713). He was not only the founder of -the Roman school, the earliest known, but probably -the first to definitely fix the form of the -sonata. In those times two kinds of sonatas were -recognised, called respectively, <i>sonate da camera</i>, -i.e., chamber sonata, and <i>sonata da chiesa</i>, or church -sonata. The first-named consisted of a series of -dance measures (allemande, courante, saraband, -gigues, etc.), systematically arranged, whilst the -latter was a subject treated in fugal and other -learned styles, and otherwise rendered more in keeping -with the dignity of the place in which such -compositions were performed. In the time of Corelli, -<span class="pb" id="Page_107">107</span> -the sonata usually commenced with an <i>adagio</i>, -and after two or three other movements finished with -an <i>allegro</i> or <i>presto</i>.</p> -<p>Corelli as a composer showed a great partiality -for this class of music, and his compositions rapidly -spread throughout the length and breadth of -Europe. Tartini caused all his pupils to study the -works of Corelli. There is not, it is true, evidence -of a great amount of musical erudition, but what -has conferred a remarkable longevity on his works -is his melodic simplicity and pure harmony. His -works are forty-eight sonatas for two violins and -bass (Op. 1-4), produced 1683-94; twelve sonatas for -violin and bass (Op. 5), 1700; twelve “concerti-grossi,” -for two violins and ’cello as principal instruments, -and two violins, viola and bass as accompanying -instruments.</p> -<p>Such a gifted musician as Corelli was not likely -to quit this life without leaving the impress of his -artistic feelings upon those who sought his instruction, -and we have ample proof of the great influence -he exerted in the names of G. B. Somis (1676-1763) -F. Geminiani (1680-1762), and Locatelli (1693-1764). -<span class="pb" id="Page_108">108</span> -Somis was a close follower of his master, and it is -quite easy to believe this on a comparison of their -respective sonatas. Geminiani asserted more of his -individuality, and this, coupled with the fact of his -having received theoretical instruction from Alessandro -Scarlatti, one of the most learned musicians of -the day, no doubt contributed to his making a decided -advance on the violin music of the time. Notwithstanding -his increased knowledge as a theorist, -and his greater ability as an executant, Geminiani -laboured long to bring into prominence and popularity -the artistic conceptions of his renowned violin -master. His first effort in this direction was made in -1726 (Geminiani being then in London), when he -formed Corelli’s first six solos into concertos, a style -of composition then recently called into existence, -shortly afterwards treating another six in a similar -manner. Others underwent the same process, but to -these were added additional parts. Geminiani was -one of the first in the field of musical expression, -even sacrificing strict time to obtain it.</p> -<p>Locatelli furnishes us with another example, not -only of the advance of technique, but of the progress -<span class="pb" id="Page_109">109</span> -of musical culture. His works called “The Labyrinth,” -“The New Art of Modulation” and “Harmonic -Contrasts” are alone sufficient to establish him -as a great reformer in the musical world of his -time. As we have elsewhere observed, Torelli is -credited with having fixed the form of the concerto, -and a few lesser lights, such as the two Veracinis and -Alberti, live to this day by their works. The next -master whose influence marked another step in the -development of classical music for the violin was -Guiseppe Tartini (1692-1770). Here we have a -man destined for all time to stand out as one of -the most indefatigable pioneers of the violin. In -his quadruple capacity as a performer, composer, -theorist and teacher, his influence was far-reaching, -and, what is more, it has been transmitted down to -the present time. As a composer, his style of -modulation was a new thing, and his performance -came as a revelation to those who heard him for the -first time. His “Devil’s Sonata” is well-known to -all violinists.</p> -<p>We now arrive at a name which brings us in touch -with other members of the fiddle family. Luigi -<span class="pb" id="Page_110">110</span> -Boccherini (1740-1806), who is justly considered the -father of chamber music for stringed instruments. -It was he who, in 1768, gave definition to the -form of the trio, the quartet and the quintet; forms -which have served for the models of all subsequent -composers. In the trio he was followed by Fiorillo, -Cramer, Giardini, Pugnani and Viotti, and in the -quartet by Mozart. His other styles were elaborated -by Haydn and Beethoven. Boccherini was a prolific -composer.</p> -<p>Three names should here be mentioned in -connection with the concerto, in whose hands it -underwent great improvement. They are Pugnani -(1728-1798), Jarnowick (1745-1804), and Mestrino -(1750-1790).</p> -<p>The next and last great representative of the -Italian school, and one who largely influenced the -French school, was Giovanni Battista Viotti (1755-1824), -a pupil of Pugnani. The name of Viotti -stands out with peculiar lustre, in that with him the -concerto arrived at a degree of perfection hardly -capable of being exceeded. The same may be said -of his trios and duos, both of which should be -<span class="pb" id="Page_111">111</span> -studied and cultivated by every young violin aspirant. -In Viotti the Italians have certainly produced -a fitting tailpiece to a long line of brilliant composers -for the violin, a line in which no artistic hiatus -appears from the time of Corelli.</p> -<p class="center"><span class="gs">* * * * * * * *</span></p> -<p>The first to establish a French school was Jean -Marie Leclair (1679-1764). Although he received -his instructions from Somis, the Italian, and became -thoroughly imbued with Italian tastes and ideas, -he laboured incessantly, on his return to France, with -the object of establishing a distinct school for his -country, and in many respects he was successful. In -1723 he published a series of solos, and soon afterwards -six sonatas for two violins and bass; also -duos, trios and concertos.</p> -<p>The next to claim attention among the French -classical composers is Pierre Gavinies (1728-1800). -He was the first professor at the Paris Conservatoire, -then but recently formed, and the compositions he -contributed testify to considerable musical culture: -they are of great difficulty, and are, for the most -parts, sonatas and concertos.</p> -<div class="pb" id="Page_112">112</div> -<p>We now introduce three names who greatly -elaborated the forms fixed by the Italians, Rode -(1774-1830), Kreutzer (1766-1831) and Baillot (1771-1842). -This almost inseparable trio are so well -known to the student, that a lengthy comment would -be superfluous. They were all in turn professors at -the Paris Conservatoire, and the joint production of -their great method for the violin, coupled with their -other educational works, place them as prominent -classical writers. Rode is known by his concertos, -caprices and airs with variations. Kreutzer’s forty -studies are a household word with the earnest -student, not to mention his concertos, duets, trios -and quartets; and the same may be said with regard -to Baillot’s concertos, variations, and a host of other -pieces.</p> -<p class="center"><span class="gs">* * * * * * * *</span></p> -<p>We now pass on to consider shortly what the Germans -have handed down. Like other countries, they -have been largely indebted to the Italians; and, in -this connection, it is curious to note that with the -rise of music in Germany we find a gradual decadence -of the art in Italy.</p> -<div class="pb" id="Page_113">113</div> -<p>In Germany we have to look to the great composers -rather than the great violinists for the most -important classical works for the violin.</p> -<p>It is unnecessary to notice anything anterior to -the time of the great J. S. Bach (1685-1750); in fact, -very little took place in the nature of published -works.</p> -<p>That Bach possessed a sound perception of the -capabilities and resources of the violin is amply -demonstrated in all his writings for that instrument. -His acquaintance with the finger-board is only excelled -by his knowledge of the keyboard. Amongst -the almost innumerable works of this greatest musical -classic that has ever lived, I would mention his -three partitas and three sonatas for violin (without -accompaniment). The Chaconne in the D minor -Partita is a remarkable instance of Bach’s immense -powers of perception.</p> -<p>The first real founder of a German school was -Leopold Mozart (1719-1787), father of the great -W. A. Mozart. He is not known by his instrumental -compositions, but his claim to notice exists in the -production of his “Method” for the violin, a work -<span class="pb" id="Page_114">114</span> -which not only survived several editions, but assumed -the garb of several languages.</p> -<p>The next to call for notice is Joseph Haydn -(1732-1809), a most prolific composer, especially for -the string family. Attached to the service of Prince -Esterhazy, a patron immensely rich and passionately -fond of music, Haydn enjoyed a combination of -circumstances all concurring to give opportunity for -the display of his genius. It has been vouchsafed -to few musicians to pursue their art under such favourable -conditions as Haydn. He did not compose -to please either publisher or the public. So long as -his patron was satisfied with his productions, things -went on merrily with him.</p> -<p>Let us see what Haydn did for the instrument he -loved so much. Here they are—eighty-three quartets, -three concertos, twenty-one trios for two violins -and bass, six violin solos.</p> -<p>No review, however short, could lay claim to completeness -without mention of the following—viz., -Mozart, Weber and Beethoven. To this noble trio -violinists owe much. It is, of course, quite beyond -the province of this work to even enumerate the -<span class="pb" id="Page_115">115</span> -many compositions from the pens of these immortal -musicians in which the violin took part, but I would -call attention to Beethoven’s glorious Concerto in D, -Op. 61, and his two lovely Romances in G and F -respectively.</p> -<p>Another great German musician who exercised -considerable influence on compositions of classic -mould was Louis Spohr (1784-1859). His great -fame as a composer, combined with his reputation as -a violin virtuoso of the highest order, places him in -a conspicuous position in the history of music. The -works of Spohr are probably so well known that no -useful purpose can be served in recounting their -great merits. Suffice it to say they are of the highest -possible pitch of excellence, and require more than -ordinary technical ability to do them justice. Considered -only as a composer, he has been indefatigable -in the production of every style of music, and -he was especially happy in that for the strings. His -beautiful D minor Concerto is one of the finest examples -of this class of music to be met with, and -its first introduction by the great master himself -made a great sensation. As one of Spohr’s commentators -<span class="pb" id="Page_116">116</span> -truly said, “Mozart had written solid and -simple concertos, in which the performer was expected -to embroider and finish the composer’s sketch, -and Beethoven’s concertos were so written as to make -the solo player merely one of the orchestra. But, -as Mozart raised opera to a higher standard, so -Beethoven uplifted the ideal of the orchestra, so -Spohr’s creative force as a violinist and writer for -the violin has established the grandest school for -this instrument, to which all the foremost contemporary -artists acknowledge their obligations.”</p> -<p>Before taking leave of the German school I would -mention two other names—Joseph Mayseder and -Kalliwoda, both of whom contributed much that is -good, and their works consequently attained wide -popularity.</p> -<p>Let us now turn to our own country. We have -not, it must be admitted, occupied a front rank as -composers of violin music, hence the scarcity of classical -works handed down to us; but let us hasten -to add, we have produced the finest critics in the -world, and, what is more, we are thoroughly well -<span class="pb" id="Page_117">117</span> -posted up in all the best pieces that have emanated -from the thoughts of the greatest composers.</p> -<p>One of the earliest who wrote for the violin was -one Rogers, who, in the year 1653, wrote airs in four -parts for violins. He was followed by John Jenkins, -who wrote twelve sonatas for two violins and -a bass, printed in 1664, which were the first sonatas -written by an Englishman.</p> -<p>James Sherard also composed several sonatas in -the beginning of the last century, and they are said -to bear such a resemblance to Corelli’s that they -might have been taken for that composer’s.</p> -<p>The compositions of Handel materially advanced -the violin in this country, and the establishment by -him of Italian opera was the means of bringing us -in touch with the great Italian performers and -writers.</p> -<div class="pb" id="Page_118">118</div> -<h2 id="c10">FOOTNOTES</h2> -<div class="fnblock"> -<div class="fndef"><sup><a id="fn_1" href="#fr_1">[1]</a></sup>That Cremona instruments were held in high estimation -during the reign of Charles II, is proved by the following -entry in the Enrolments of the Audit Office, 1662, vol. vi: -“These are to require you to pay, or cause to be paid to John -Bannister, one of his Majesties musicians in ordinary, the -some of fourty poundes for two cremona violins, by him -bought and delivered for his Majesties service as may appear -by the bill annexed, and also tenn pounds for strings for two -years, ending 24th June, 1662. And this shall be your warrant, -etc.” -</div> -<div class="fndef"><sup><a id="fn_2" href="#fr_2">[2]</a></sup>In early English times the word “crowd” was often -used instead of fiddle. -</div> -<div class="fndef"><sup><a id="fn_3" href="#fr_3">[3]</a></sup>This Act was repealed by 12 Ann Stat. 2, C. 23. -</div> -<div class="fndef"><sup><a id="fn_4" href="#fr_4">[4]</a></sup>James Sherard, an Englishman, also composed several -sonatas, so nearly equal to Corelli’s, and resembling them -so perfectly in style, that they might have been taken for -that composer’s. -</div> -<div class="fndef"><sup><a id="fn_5" href="#fr_5">[5]</a></sup>Michael Corette was an organist in Paris in 1738. He -wrote several treatises on music. -</div> -</div> -<div class="pb" id="Page_119">119</div> -<h2 id="c11">INDEX.</h2> -<dl class="index"> -<dt>Addison, William, <a href="#Page_90">90</a>.</dt> -<dt>Aireton, Edmund, <a href="#Page_91">91</a>.</dt> -<dt>Albani, Matthias, <a href="#Page_45">45</a>.</dt> -<dt>——, Matthias (son), <a href="#Page_45">45</a>.</dt> -<dt>Albioni, <a href="#Page_31">31</a>.</dt> -<dt>Aldred, <a href="#Page_11">11</a>.</dt> -<dt>Amati, Andreas, <a href="#Page_32">32</a>, <a href="#Page_46">46</a>.</dt> -<dt>——, Anthony, <a href="#Page_32">32</a>, <a href="#Page_46">46</a>.</dt> -<dt>——, Hieronymus, <a href="#Page_32">32</a>, <a href="#Page_46">46</a>.</dt> -<dt>——, Nicolas, <a href="#Page_32">32</a>, <a href="#Page_47">47</a>.</dt> -</dl> -<dl class="index"> -<dt>Bach, <a href="#Page_113">113</a>.</dt> -<dt>Bachmann, Carl Ludwig, <a href="#Page_72">72</a>.</dt> -<dt>Baillot, <a href="#Page_39">39</a>, <a href="#Page_112">112</a>.</dt> -<dt>Baltazarini, <a href="#Page_36">36</a>, <a href="#Page_39">39</a>.</dt> -<dt>Baltzar, Tho., <a href="#Page_23">23</a>, <a href="#Page_42">42</a>.</dt> -<dt>Banks, Benjamin, <a href="#Page_92">92</a>.</dt> -<dt>——, Benjamin (son), <a href="#Page_94">94</a>.</dt> -<dt>——, James and Henry, <a href="#Page_94">94</a>.</dt> -<dt>Bannister, John, <a href="#Page_13">13</a>.</dt> -<dt>Barrett, John, <a href="#Page_95">95</a>.</dt> -<dt>Beethoven, <a href="#Page_110">110</a>, <a href="#Page_115">115</a>.</dt> -<dt>Benda, Francis, <a href="#Page_43">43</a>.</dt> -<dt>Bente, <a href="#Page_32">32</a>, <a href="#Page_72">72</a>.</dt> -<dt>Bergonzi, Carlo, <a href="#Page_48">48</a>.</dt> -<dt>——, Michael Angelo, <a href="#Page_49">49</a>.</dt> -<dt>Betts, John, <a href="#Page_95">95</a>.</dt> -<dt>Boccherini, Luigi, <a href="#Page_109">109</a>.</dt> -<dt>Bolles, <a href="#Page_11">11</a>.</dt> -<dt>Boquay, Jacques, <a href="#Page_83">83</a>.</dt> -<dt>Buchstetter, Gabriel David, <a href="#Page_72">72</a>.</dt> -<dt>——, Josephus, <a href="#Page_73">73</a>.</dt> -<dt>Buddiani, <a href="#Page_32">32</a>.</dt> -</dl> -<dl class="index"> -<dt>Cappa, Giofredo, <a href="#Page_49">49</a>.</dt> -<dt>Cervette, <a href="#Page_100">100</a>.</dt> -<dt>Chanot, François, <a href="#Page_87">87</a>.</dt> -<dt>Chaucer, <a href="#Page_15">15</a>.</dt> -<dt>Choron, <a href="#Page_37">37</a>.</dt> -<dt>Cole, Thomas, <a href="#Page_90">90</a>.</dt> -<dt>Corelli, A., <a href="#Page_28">28</a>, <a href="#Page_31">31</a>, <a href="#Page_106">106</a>.</dt> -<dt>Corette, Michael, <a href="#Page_37">37</a>.</dt> -<dt>Cramer, William, <a href="#Page_43">43</a>, <a href="#Page_110">110</a>.</dt> -<dt>Cross, Nathaniel, <a href="#Page_101">101</a>.</dt> -<dt>Crossdill, <a href="#Page_100">100</a>.</dt> -</dl> -<dl class="index"> -<dt>De Beriot, <a href="#Page_39">39</a>.</dt> -<dt>Dodd, Thomas, <a href="#Page_97">97</a>.</dt> -<dt>Dubourg, <a href="#Page_42">42</a>.</dt> -<dt>Duke, Richard, <a href="#Page_97">97</a>.</dt> -</dl> -<dl class="index"> -<dt>Eberle, Ulric, <a href="#Page_73">73</a>.</dt> -</dl> -<dl class="index"> -<dt>Feltham, Owen, <a href="#Page_16">16</a>.</dt> -<dt>Fendt, Bernhard, <a href="#Page_97">97</a>.</dt> -<dt>Fétis, <a href="#Page_2">2</a>.</dt> -<dt>Forster, William, <a href="#Page_97">97</a>.</dt> -<dt>——, William (son), <a href="#Page_100">100</a>.</dt> -</dl> -<dl class="index"> -<dt>Gagliano, Allessandro, <a href="#Page_50">50</a>.</dt> -<dt>——, Antonio, <a href="#Page_51">51</a>.</dt> -<dt>——, Ferdinando, <a href="#Page_51">51</a>.</dt> -<dt>——, Genaro, <a href="#Page_50">50</a>.</dt> -<dt>——, Giovanni, <a href="#Page_51">51</a>.</dt> -<dt>——, Guiseppe, <a href="#Page_51">51</a>.</dt> -<dt>——, Nicolas, <a href="#Page_51">51</a>.</dt> -<dt>——, Raffael, <a href="#Page_51">51</a>.</dt> -<dt>Gavinies, Pierre, <a href="#Page_39">39</a>, <a href="#Page_111">111</a>.</dt> -<dt>Geminiani, F., <a href="#Page_28">28</a>, <a href="#Page_34">34</a>, <a href="#Page_107">107</a>-8.</dt> -<dt>Giardini, <a href="#Page_35">35</a>, <a href="#Page_110">110</a>.</dt> -<dt>Grancino, Giovanni Battista, <a href="#Page_52">52</a>.</dt> -<dt>——, Paolo, <a href="#Page_52">52</a>.</dt> -<dt>Guadagnini, Giovanni Battista, <a href="#Page_53">53</a>.</dt> -<dt>——, Guiseppe, <a href="#Page_53">53</a>.</dt> -<dt>——, Lorenzo, <a href="#Page_52">52</a>.</dt> -<dt>Guarnerius, Andreas, <a href="#Page_54">54</a>.</dt> -<dt>——, Guiseppe, <a href="#Page_53">53</a>.</dt> -<dt>——, Joseph, <a href="#Page_32">32</a>, <a href="#Page_55">55</a>.</dt> -<dt>——, Pietro, <a href="#Page_58">58</a>.</dt> -<dt>Guhr, <a href="#Page_43">43</a>.</dt> -</dl> -<dl class="index"> -<dt>Habeneck, <a href="#Page_39">39</a>.</dt> -<dt>Handel, <a href="#Page_117">117</a>.</dt> -<dt>Haydn, <a href="#Page_110">110</a>, <a href="#Page_114">114</a>.</dt> -<dt>Helmer, Charles, <a href="#Page_73">73</a>.</dt> -<dt>Hoffmann, Martin, <a href="#Page_73">73</a>.</dt> -</dl> -<dl class="index"> -<dt>Jarnowick, <a href="#Page_34">34</a>, <a href="#Page_110">110</a>.</dt> -<dt>Jauch (Jaug), <a href="#Page_74">74</a>.</dt> -<dt>Jay, <a href="#Page_10">10</a>.</dt> -<dt>Jenkins, John, <a href="#Page_117">117</a>.</dt> -</dl> -<dl class="index"> -<dt>Kennedy, Alexander, <a href="#Page_100">100</a>.</dt> -<dt>——, John, <a href="#Page_100">100</a>.</dt> -<dt>——, Thomas, <a href="#Page_101">101</a>.</dt> -<dt>Kiesewetter, <a href="#Page_43">43</a>.</dt> -<dt>Klotz, Egidius, <a href="#Page_74">74</a>.</dt> -<dt>—— family, <a href="#Page_44">44</a>, <a href="#Page_74">74</a>.</dt> -<dt>——, Mathias, <a href="#Page_75">75</a>.</dt> -<dt>——, Sebastian, <a href="#Page_75">75</a>.</dt> -<dt>Kreutzer, <a href="#Page_39">39</a>, <a href="#Page_112">112</a>.</dt> -</dl> -<dl class="index"> -<dt>Lafont, <a href="#Page_39">39</a>.</dt> -<dt>Lahousaye, <a href="#Page_39">39</a>.</dt> -<dt>Landolphus, Carlo, <a href="#Page_59">59</a>.</dt> -<dt>Leclair, Jean Marie, <a href="#Page_39">39</a>, <a href="#Page_111">111</a>.</dt> -<dt>Lindley, Robert, <a href="#Page_100">100</a>.</dt> -<dt>Locatelli, <a href="#Page_107">107</a>-8.</dt> -<dt>Lott, John Frederick, <a href="#Page_97">97</a>.</dt> -<dt>Lully, J. B., <a href="#Page_36">36</a>.</dt> -<dt>Lupot, François, <a href="#Page_87">87</a>.</dt> -<dt>——, Nicholas, <a href="#Page_40">40</a>, <a href="#Page_85">85</a>.</dt> -</dl> -<dl class="index"> -<dt>Mace, Thomas, <a href="#Page_10">10</a>.</dt> -<dt>Maggini, Giovanni Paolo, <a href="#Page_32">32</a>, <a href="#Page_59">59</a>.</dt> -<dt>——, Pietro Sancto, <a href="#Page_32">32</a>.</dt> -<dt>Marietto, <a href="#Page_31">31</a>.</dt> -<dt>Mariani, <a href="#Page_32">32</a>.</dt> -<dt>Mayseder, <a href="#Page_43">43</a>.</dt> -<dt>Mell, Davis, <a href="#Page_25">25</a>.</dt> -<dt>Mestrino, <a href="#Page_34">34</a>, <a href="#Page_110">110</a>.</dt> -<dt>Molique, <a href="#Page_43">43</a>.</dt> -<dt>Montagnani, Dominic, <a href="#Page_61">61</a>.</dt> -<dt>Mozart, Leopold, <a href="#Page_43">43</a>.</dt> -<dt>——, W. A., <a href="#Page_110">110</a>.</dt> -</dl> -<dl class="index"> -<dt>Norman, Barak, <a href="#Page_101">101</a>.</dt> -</dl> -<dl class="index"> -<dt>Otto, <a href="#Page_80">80</a>.</dt> -</dl> -<dl class="index"> -<dt>Paganini, <a href="#Page_58">58</a>.</dt> -<dt>Pamphilon, Edward, <a href="#Page_90">90</a>.</dt> -<dt>Peacham, <a href="#Page_17">17</a>.</dt> -<dt>Pemberton, <a href="#Page_90">90</a>.</dt> -<dt>Pepys, <a href="#Page_26">26</a>.</dt> -<dt>Playford, John, <a href="#Page_7">7</a>.</dt> -<dt>Pugnani, <a href="#Page_35">35</a>, <a href="#Page_110">110</a>.</dt> -</dl> -<dl class="index"> -<dt>Rauch, Thomas, <a href="#Page_76">76</a>.</dt> -<dt>Rayman, Jacob, <a href="#Page_91">91</a>.</dt> -<dt>Reade, Charles, <a href="#Page_33">33</a>.</dt> -<dt>Rode, <a href="#Page_39">39</a>, <a href="#Page_112">112</a>.</dt> -<dt>Rogers, <a href="#Page_117">117</a>.</dt> -<dt>Ross, <a href="#Page_11">11</a>.</dt> -<dt>Rugeri, Francesco, <a href="#Page_62">62</a>.</dt> -<dt>——, Giambatista, <a href="#Page_62">62</a>.</dt> -<dt>Ruppert, <a href="#Page_76">76</a>.</dt> -</dl> -<dl class="index"> -<dt>Salo, Gasparo da, <a href="#Page_13">13</a>, <a href="#Page_32">32</a>, <a href="#Page_63">63</a>.</dt> -<dt>Scheinlein, Matthias Frederick, <a href="#Page_77">77</a>.</dt> -<dt>Seraphin, Sanctus, <a href="#Page_64">64</a>.</dt> -<dt>Sherard, James, <a href="#Page_31">31</a>.</dt> -<dt>Smith, <a href="#Page_11">11</a>.</dt> -<dt>Solomon, J., <a href="#Page_43">43</a>.</dt> -<dt>Somis, G. B., <a href="#Page_107">107</a>.</dt> -<dt>Spohr, Louis, <a href="#Page_43">43</a>, <a href="#Page_115">115</a>.</dt> -<dt>Stainer, Jacobus, <a href="#Page_43">43</a>, <a href="#Page_77">77</a>.</dt> -<dt>Stamitz, John, <a href="#Page_43">43</a>.</dt> -<dt>Storioni, Lorenzo, <a href="#Page_65">65</a>.</dt> -<dt>Stradivarius, Antonius, <a href="#Page_28">28</a>, <a href="#Page_32">32</a>, <a href="#Page_65">65</a>.</dt> -<dt>——, Francesco, <a href="#Page_69">69</a>.</dt> -<dt>——, Omobono, <a href="#Page_69">69</a>.</dt> -<dt>Strutt, <a href="#Page_14">14</a>.</dt> -</dl> -<dl class="index"> -<dt>Tartini, Guiseppe, <a href="#Page_31">31</a>, <a href="#Page_34">34</a>, <a href="#Page_109">109</a>.</dt> -<dt>Techler, David, <a href="#Page_70">70</a>.</dt> -<dt>Testore, Carlo Antonio, <a href="#Page_71">71</a>.</dt> -<dt>——, Carlo Guiseppe, <a href="#Page_71">71</a>.</dt> -<dt>——, Paolo Antonio, <a href="#Page_71">71</a>.</dt> -<dt>Torelli, <a href="#Page_31">31</a>.</dt> -<dt>Tywersus, <a href="#Page_40">40</a>.</dt> -</dl> -<dl class="index"> -<dt>Urquhart, <a href="#Page_90">90</a>.</dt> -</dl> -<dl class="index"> -<dt>Valentini, <a href="#Page_31">31</a>.</dt> -<dt>Veracini, <a href="#Page_28">28</a>.</dt> -<dt>Viotti, <a href="#Page_34">34</a>, <a href="#Page_110">110</a>.</dt> -<dt>Vuillaume, John Baptiste, <a href="#Page_40">40</a>, <a href="#Page_87">87</a>.</dt> -</dl> -<dl class="index"> -<dt>Wamsley, Peter, <a href="#Page_102">102</a>.</dt> -<dt>Weber, <a href="#Page_115">115</a>.</dt> -<dt>Wise, Christopher, <a href="#Page_90">90</a>.</dt> -<dt>Wood, Anthony, <a href="#Page_18">18</a>.</dt> -</dl> -<p class="tbcenter"><i>Printed by The New Temple Press, Norbury Crescent, London, S.W.16.</i></p> -<h2>Transcriber’s Notes</h2> -<ul><li>Copyright notice provided as in the original—this e-text is public domain in the country of publication.</li> -<li>Provided an original cover image, for free and unrestricted use with this Distributed Proofreaders eBook.</li> -<li>Silently corrected palpable typos; left non-standard spellings and dialect unchanged.</li></ul> - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of The Violin and Old Violin Makers, by -A. 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