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| author | www-data <www-data@mail.pglaf.org> | 2026-06-09 19:14:43 -0700 |
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| committer | www-data <www-data@mail.pglaf.org> | 2026-06-09 19:14:43 -0700 |
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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..9f57f44 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,13 @@ +* text=auto +*.txt text +*.md text +*.htm text +*.html text +*.png binary +*.jpg binary +*.svg text +*.pdf binary +*.bmp binary +*.zip binary +*.midi binary +*.mp3 binary diff --git a/78831-0.txt b/78831-0.txt new file mode 100644 index 0000000..d8ad95d --- /dev/null +++ b/78831-0.txt @@ -0,0 +1,10763 @@ +*** START OF THE PROJECT GUTENBERG EBOOK 78831 *** + + + + +TRANSCRIBER’S NOTE + +Italic text is denoted by _underscores_. + +Some minor changes to the text are noted at the end of the book. + + + + + Collector Series + + OLD VIOLINS + + + + +[Illustration: + + AUTOGRAPHS AND ENGLISH + MANUSCRIPTS The Collector Series WATER-COLOURS + + STAMPS TAPESTRY LACE AND MINIATURES + EMBROIDERY + + OLD + VIOLINS + + BY + REV. H. R. HAWEIS + + EDINBURGH + JOHN GRANT + 1910 + + FINE PRINTS ENGLISH + BOOK PLATES + + COINS PICTURES + + PORCELAIN OLD BIBLES ANCIENT GLASS +] + + + + + CONTENTS + + + CHAP. PAGE + + PRELUDE 7 + + I. VIOLIN GENESIS 15 + + II. VIOLIN CONSTITUTION 22 + + III. VIOLINS AT BRESCIA 30 + + IV. VIOLINS AT CREMONA 42 + + V. VIOLINS AT CREMONA (_continued_) 60 + + VI. VIOLINS IN GERMANY 91 + + VII. VIOLINS IN FRANCE 104 + + VIII. VIOLINS IN ENGLAND 118 + + IX. VIOLIN VARNISH 146 + + X. VIOLIN STRINGS 153 + + XI. VIOLIN BOWS 161 + + XII. VIOLIN TARISIO 171 + + XIII. VIOLINS AT MIRECOURT, MITTENWALD, AND + MARKNEUKIRCHEN 186 + + XIV. VIOLIN TREATMENT 198 + + XV. VIOLIN DEALERS, COLLECTORS, AND AMATEURS 214 + + POSTLUDE 237 + + DICTIONARY OF VIOLIN MAKERS 239 + + BIBLIOGRAPHY 281 + + DESCRIPTION OF PLATES 287 + + + + + OLD VIOLINS + + + + +PRELUDE + + +What is the secret of the violin? Why is it that when a great +violinist appears all the other soloists have to take a back seat? + +The answer is: the fascination of the violin is the fascination of +the soul unveiled. + +No instrument--the human voice hardly excepted--provides such a rare +vehicle for the emotions--is in such close touch with the molecular +vibrations of thought and with the psychic waves of feeling. But +whilst the violin equals the voice in sensibility and expression, it +far transcends it in compass, variety, and durability. + +Consider the singular completeness and perfection of this instrument +as a sort of physical and vibratory counterpart of the soul. The +four strings no doubt limit and define its compass, and only in +the quartet and collectively, is it capable of extended effects of +complex harmony; but as a tone-producing instrument and within its +limits it is perfect--every gradation of sound between tone and +semitone is attainable, and for no other instrument can this be +claimed. + +Next I observe that the violin possesses a trinity in unity of power +which invests it with a quite singular and felicitous completeness of +its own:-- + +(1) _Accent_--and in staccato passages almost the accent of +percussion. + +(2) _Sustained sound_--to a degree far beyond the capabilities of the +human voice. + +(3) _Modified tone_--and in such refinement of gradation, that the +melting lines of the spectrum can alone supply us with a parallel or +analogy. + +Your piano possesses _accent_, but once strike a note, soft or loud, +and it passes beyond your control. + +The piano has little _sustained_ and no _modified tone_. + +Your organ has _accent_ and _sustained tone_, but in a very imperfect +sense _modified_ tone; and a brief survey of all musical instruments +now in use will convince the student of acoustics that nowhere but +in the violin do we find to anything like the same degree, that +trinity in unity of power summed up in _accent_, _sustained_ sound, +_modified_ tone. + +But the half has not yet been revealed. The trinity of power in +the violin is placed under the immediate control of two hands--of +ten fingers, each hand functioning differently. The hand on the +finger-board is engaged in pressing the strings; the other hand +wields the bow, and not only sets the strings in vibration, but +drives, tears, plunges, caresses, checks, prolongs, magnetises and +regulates, in an altogether marvellous fashion, the outpourings +of sound, which are in reality the outpourings of the musician’s +soul,--and further: + +Has it ever occurred to you, my reader, how differently the same +piece of music, or, for the matter of that, the same violin, sounds +in the hands of two different players? + +A few of Paganini’s solos were written down, and Sivori, who passed +as his only pupil, was in the habit of playing some of them; yet no +one was ever wrought to frenzy or melted into a passion of tears by +that elegant performer. I have often heard him. The gentlemen in the +orchestra remained calm, and listened with admiration and approval. +But when Paganini played, the drummer on one occasion so shook with +excitement that he was utterly incapable of playing his part at all, +and Professor Ella, then a violinist at the first desk, went up and +did it for him, whilst the other violinists were so lost in wonder +that they could hardly concentrate their attention sufficiently to +come in at the “tutti.” + +When Paganini raised his bow on high, it came down on his four +strings with a crash. What made it sound like thunder? It was the +thunder in his soul! When his violin wailed with sweetness long drawn +out, why did the tears roll down the faces of hardened orchestral +veterans, and even great virtuosi like Lindley and Dragonetti? Why +did the people just go off into fits of laughter when a comic vein +seized the prodigious Maestro in the midst of his variations on the +Carnival de Venise? + +I have heard Wieniawski play his since much hackneyed “Legende”--it +may have been somewhere in the sixties. I never heard anything so +weird--spirit voices in the twilight--the wail of lost souls--one +positively saw ghosts. I have heard the “Legende” a hundred times +since by Neruda, Nachez, Sarasate, and I know not how many more, but +I have never again seen ghosts. + +What was it? It was the mystery of _touch_. The language of touch is +but half understood, but the language of touch is the language of +soul, and the perfection of touch is reached when a sensitive finger +controls a vibrating string or nerve and sends its own psychic thrill +along the waves of sound or sensibility. + +The same no doubt is true of the pianoforte touch, though in a less +degree, because a percussive touch can never have the power of a +sustained and modified pressure. + +Recent science has thrown some curious sidelights upon this same +sense of touch. It affirms that the trained fingers of the blind +actually acquire from exercise, practice, and adaptation, new +nerve-cells filled with grey matter exactly similar to the thinking +and feeling grey nerve matter of the brain--in fact, the fingers +of the sensitive musician have the power of thought and emotion +delegated to them; and just as thinking matter is not confined to +brain cells, but extends all down the medulla oblongata, which +responds to stimulus, even when the head is cut off--so we now know +that brain cells may be acquired, I had almost said cerebrated, and +used even by the fingers. + +Now, supposing we bring these thinking, pulsating finger-tips and +wed their subtle pressure to waves of sound, who shall say that these +special sound waves may not be so impregnated with brain waves as +that sound thus charged with soul may convey through the auditory +nerve to other souls the passion, the emotion, the sorrow, the +joy, and whatever else is generated in the heart and brain of the +musician? ’Tis not more inconceivable than thought-reading. + +This goes far to account for the personal fascination which players +exercise through their art. Their soul waves becoming brain waves, +float out, charged with whatever is in the musician; and if there is +nothing in the musician, as not unfrequently happens, they float out +charged with nothing! + +The witchery of the violin for collectors is perhaps more difficult +to explain. Very often these fanciers don’t play, and still more +often they seem to have an objection to other people stringing up +their treasures and playing on them. It is the construction, not so +much the sound of the violin, that deprives the collector of his +senses; but we ought to be very thankful to these monomaniacs, for +without them there would be few masterpieces still extant; through +them the violin goes into a period of Devachan, or enforced rest. At +all events, it cannot be worn out, or chipped, or rubbed, or trifled +with by repairers whilst in the collector’s cabinet. + +All the finest violins are known and carefully stalked--the health +of their owners watched; and when the time comes, they either find +their way to the open market or are picked up briskly by the great +dealers, sometimes for fabulous sums. Mr Hill of Bond Street thinks +nothing of a thousand pounds for a really fine specimen of Strad. + +Watch the collector exhibiting his treasures to a select company +after lunch. You will soon see he is not the daft creature whom the +uninitiated who only want to _hear_ the fiddle are apt to suppose. +He knows the influence which that old Gasparo or Maggini had upon +the Cremona school. He marks with admiration the emergence of the +Amati and Guarnerii from the Brescian models; for him even the quaint +long ∫ ∫’s of the old makers stand in lovely contrast with the more +graceful but still pointed sound-holes of Joseph or more rounded ones +of the great Antonius. To him that ancient viola cut down from a +larger-sized model of viol now extinct, and placed side by side with +an Amati tenor, is as interesting as the study of comparative anatomy +to a scientist. + +Then your collector is never tired of dwelling on the perfection of +those forms which slowly emerged as the survival of the fittest in +that exciting quest for the sensitiveness, sweetness, and sonority +of tone which occupied the lifelong meditations of Nicolo Amati +and Stradivari. Anon he will call your attention excitedly and +sympathetically to the grace of the curves, the surface never flat +or board-like, but full of a variety of levels like the satiny +surface of a fine human body. You might almost believe that a whole +system of muscle--a very living organism--lay beneath the “back” +and belly, which to his eyes are alive with swelling and undulating +grace;--and then think of the varnish like a sheet of thin jasper, +at once shielding from decay, whilst revealing as years roll on the +transparent filaments of the mottled maple or sycamore and the pine, +and crossed between the fibres with millions of tiny rays which +betray the desiccated cells--now fit for resonance--through which the +sap once flowed! + +But I must not anticipate matter which more properly belongs to +violin manufacture. I only wish to affirm, in justification of the +existence of players, hearers, and collectors alike, that the violin +charm has its own rationale. + +I may perhaps be pardoned if I close this prelude with some words +which I used before the Royal Institution in 1872. + +“The violin is perennial. It grows old with its perpetual youth. +There is no reason why it should ever wear out. It sings over the +graves of many generations. Time, that sometimes robs it of a little +varnish, has no power over its anointed fabric. + +“The hard durable substance steeped in silicate-like varnish has +well-nigh turned to stone, but without sacrificing a single quality +of sweetness or resonance. + +“The violin is the only fossil which still lives, and lives with a +fulness of life and a freshness that contrasts quaintly enough with +the fleeting, sickly, and withering generations of man. Even should +mishap bruise or break its beauty it can be endlessly restored. It +is never fit for death; it survives a thousand calamities; nay, +even when cut up and dismembered, its several parts, scattered +through a dozen workshops and three hundred years, live on with a +kind of metempsychosis in new forms, and still cling strangely to +their individuality, so that men taking up a patchwork violin say, +‘It is fine--the front is poor, the head is tame, but see here is a +Stradivarius back!’ + +“Thus human in its power and pathos, superhuman in its immortal +fabric, the violin reigns supreme, the king and queen of all +instruments--and, in the hands of a Paganini, a Joachim, an Ernst, or +a Sarasate, the joy and wonder of the civilised world.” + + + + +CHAPTER I + +VIOLIN GENESIS + + +To me it has always appeared unimportant and not very interesting +to answer the question, “Were or were not the ancients--by which we +usually mean Babylonians, Egyptians, or Greeks and Romans--acquainted +with the fact that stretched strings could be set in tonal vibration +by means of horse-hair, reed, or some other fibre?” They knew most +things, and how much they knew we are only now beginning to discover. + +At one time we thought that even the Romans did not know that water +rose to its level, but they were well acquainted with the fact. + +We pride ourselves upon the triumphs of modern surgery, but we +now find that the Egyptians were also great surgeons and operated +successfully for calculus. + +The wonders of electric telegraphy are doubtless of modern origin, +but the Greeks were at least aware of the attractive properties of +amber, which they called “Electron,” though they made no use of +electricity, and they may very likely have been acquainted with the +principle of rubbing, as they certainly were of plucking, a string in +tension to produce a sound--without ever elaborating the idea in an +instrument for musical purposes. + +Both Fêtis and Vidal deny that any instrument of the viol tribe +existed in antiquity, apparently on the slender grounds that the +few fragments of pottery, papyrus, or mural decoration known to +us have not yet revealed the fact. I think it probable that these +savants are wrong. Like the use of the wheel, bow and arrows, bow and +string for drilling holes, the bow or something like it employed for +musical purposes is likely, on _a priori_ grounds alone, to be of +immense antiquity, and at least as old as the knowledge of percussion +instruments such as the drum, or of wind instruments such as the +pan-pipes. + +I don’t lay any great stress upon pictures of stringed instruments +with something like a bridge taken to prove the existence of a bow, +especially if the bow happens to be absent--a guitar has a bridge +but no bow, so has the zither and the bandoline, which are plucked +with the fingers or a plectrum. The much-talked-of Canino Vase (fig. +103, vol. iii. of Micali’s _Storia Degli Antichi Popoli Italiani_), +showing apparently a sort of instrument with apparently a sort of +bow, has been held by some to be conclusive that something like the +violin tribe was known to the Etruscans. Possibly! Personally I am +not satisfied that it is a musical instrument at all which is figured +on that same vase--it might be anything, from a rattle or a torch to +a broom or a dust-pan. The strongest point in its favour as a musical +instrument is not the rough image on the vase, but the fact that a +musician, astronomer, and doctor, by name Chiron, is seated beside it. + +We probably see the descendants of any such instruments as may have +existed in those times in the Ravanastron, which has been recognised +by some as the oriental precursor of the occidental fiddle. + +Altogether, I think that, from the musical point of view, too much +time, and a surplus of barren antiquarian lore, have been bestowed on +the origin of the viol tribe. + +Our business begins not even with the building up of the viol out of +the Rebek, Crouth, and Rotta (see “Music and Morals,” p. 382), but +with the emergence of the violin tenor, violoncello, and double-bass +out of that confused, tentative, and often grotesque crowd of viols +and viol da Gambas, specimens of which are still exhibited behind +glass in our Art Museums and Loan Collections. We have little to +do with them. They are of no more living account than the Egyptian +mummies in the British Museum. A few retain a gleam of practical +importance for the violin collector, because they have been cut down +for tenors or otherwise used up during the last three hundred years +by violin makers: the others remain of interest to musicians only; +like the bones of fossil crocodiles, they are curious studies in the +comparative anatomy, not of reptiles, but of musical instruments, +that is all. + +No, it is with the distinct evolution of the violin, by which I +mean the violin tenor, violoncello, and double-bass types, from the +nondescript, dusky, tubby, ungainly machines, muffled in sound and +dubious in form, that for me at least begins the history and the +interest of the violin tribe. + +The genius of these elect types is inseparably connected with +song--sacred song. + +Viols were used in churches to play chants in unison with the monks’ +voices (probably also to assist their defective musical ear). When +the singing-schools of Italy arose and divided the voice into treble, +alto, tenor, and bass, a suitable viol was told off as the companion +of each voice. Soon after this the modern divisions, the octave and +the discovery of the perfect cadence, laid the foundation of the art +of modern music (Monteverde, 1570). The violin emerged. + +The endless discussions as to exactly when the violin proper made +its appearance, or the tenor proper, or when the viol da Gamba got +modified into the current violoncello size and shape, will probably +continue to agitate those whose minds have a special aptitude for +such researches. A very general statement will probably satisfy +general readers, and even special lovers of the violin. + +The name of Duiffoprugcar haunts this dim transition period, +and although the violins extant under his name have all been +discredited, and not always distinguished from Vuillaume’s clever +forgeries, I remember one of the first judges in Europe, who was +certainly quite alive to the tricks of the trade, showing me a +reputed Duiffoprugcar (hung and labelled in the South Kensington +Museum), which he then believed to be genuine. It had lost the +tubby characteristics of the viol tribe; it was, in fact, an early +Brescian violin, linen-lined, but its claim to be a Duiffoprugcar was +withdrawn. + +[Illustration] + +Duiffoprugcar was born in 1514 at Fussen, in the Bavarian Tyrol. He +was an inlayer and mosaic worker. He is now known to have visited +Paris, and to have worked at Lyons. There is a fine portrait of +him etched by the engraver Wariot in 1562, and a curious viol is +extant by him, with a map of Paris inlaid at the back, once owned +by Vuillaume, and within recent years secured for the Brussels +Conservatoire Museum by its intelligent curator, Mr Victor Mahillon. +Mr Donaldson’s beautiful viol da Gamba is the only other known +specimen of his work. There is no evidence that Duiffoprugcar ever +made what we should call a violin, and very good negative evidence +to the contrary. In a curious old print exhibiting his portrait, a +copy of which is owned by Messrs Hill, amongst the various viols +represented no such instrument as the violin appears. + +It is easy to see how inevitable was the differentiation of the +violin tribe from the first moment that a vocal quartet came to be +conceived of. First the viol is selected to double a part, next a +viol is made in a modified way to suit the part, and very soon the +modification assumes the forms and proportions known as violin, +viola, and violoncello. + +But in the early days of violin genesis the instrument was +quite subordinate to the voice; it only gradually conquered its +independence with the emergence of the string trio and string +quartet. It would happen thus:-- + +Two people would meet to sing, and the missing tenor or bass voice +would be supplied by a viola; or three would meet who could not sing +at all, when it would occur to them that the vocal parts might be +played instead, and with even more accuracy perhaps than the very +average voices would attain to. + +The instrumental trio and quartet thus at once came into being. + +Next, music would be written independently for such combinations, and +the voices would be egged out altogether, and presently the treble +or violin would show a tendency to throw the others into the shade, +and at last be thought worthy of a solo _all to itself_, and thus the +independent position of the instrument would quickly be established. + +All attempts to date exactly the stages of this differentiation of +the violin tribe are likely to be misleading. + +You cannot say exactly when perspective was discovered or +rediscovered by the Italian painters, it developed gradually; and so +the violin developed gradually, born of new musical needs and new +musical knowledge. + +In the midst of the old chaotic world of viol noises that preceded +it, the struggle to displace the old viol players and the slow +disappearance of the whole clumsy craft is aptly summed up in the +words of one who lived at the moment of transition. He writes-- + + “In former days we had the viol in + Ere the true instrument had come about; + But now we say, since this all ears doth win, + The violin hath put the viol out.” + + + + +CHAPTER II + +VIOLIN CONSTITUTION + + +One of the subtle charms of the violin is that it may be called +bisexual. + +It unites in itself and welds together the masculine and feminine +qualities. + +Its very fabric is bisexual. The soft, easily moved vibrations of +the swelling front are controlled, checked, and yet excited by the +slower and harder pulsations of the maple back. The porous deal and +the close-grained maple or sycamore thus thrill together, and each +supplies the deficiency of the other, both blending in harmonious and +sympathetic union, the ribs welding the back and the belly into an +organic whole, whilst the sound-post, poetically called by the French +the soul of the violin (_l’âme du violon_), collects the quick and +slow vibrations, and fusing them, produces the subtle resultant of +violin tone. + +That tone is the offspring of neither back nor front, nor ribs alone, +but of all these differently vibrating surfaces, collected and made +musical in the “soul,” and poured forth as the breath of life from +the ∫ ∫ holes as out of the very mouth and nostrils of the violin. +Surely the children of the violin are nothing but the sweet and +subtly compounded sounds that it utters. + +The bisexual figure holds good even to the bow and strings. The bow +is the male and the strings are the female elements. They can only +vibrate when touched--swept into a tempest of emotion or caressed +into tender whispers. + +They wait and pine for this magic touch, and long for their own +fulfilment. They are so sensitive that they respond to the lightest +feathery kiss of the powdered and anointed horse-hair--they murmur, +they sigh, they scream, they weep, they laugh, but only when +smitten, coaxed or agonised, sometimes almost torn, at others calmly +and masterfully swept; whilst the finger-tips, pressing out the +vibrations and generating those magnetic thrills which go forth +charged with the musician’s very thought and feeling, aid and abet +the masculine power of the bow. They are its ministers; without +them the might of the bow itself would be impotent; without them +the very strings would be unable to yield their infinite variety of +tone and inflection of meaning. Yes, certainly the violin is of all +instruments the most human, personal, and sympathetic, for the violin +is truly bisexual. + +It is also a miracle of art, strength, and simplicity--we may say at +once, as light as a feather and as strong as a horse. It is composed +of thin sheets or slips of wood, only about a fragment of an inch +thick; but, by the simplest and soundest mechanical construction, +these are so put together as to resist a strain of about a +hundredweight upon the belly, neck, and tailpiece, from the tension +of the four strings. + +Six sycamore ribs and twelve internal blocks and linings suffice to +hold the back and belly together. + +The neck carries the ebony finger-board and lifts its characteristic +scroll or head--so expressive that makers can almost be recognised by +its physiognomy. + +The neck is let solidly into the ribs and fastened against the lower +part of the belly. When firmly glued it is extremely difficult to +detach it, and once only in my experience has the neck of a violin +proved unequal to support the enormous pull made upon it by the +strings. + +It was in Ceylon. The heat was intense and moist. I had borrowed a +violin for experimental purposes in one of my lectures at Colombo. +In the middle of an attempted passage the neck quietly doubled up; +the strings fell in a loose cluster. The glue had liquefied, and +the whole fiddle came to pieces in my hands. What no time nor wear +and tear had been able to effect had been suddenly achieved by the +peculiar hothouse, vapour-bath treatment of the tropics. + +The early viol-makers no doubt at first selected their wood +empirically; but it soon became an established rule to take a soft +wood for the belly and a hard wood for the back. If all were soft, +the sound would be muffled and tubby; if all were hard, the sound +would be metallic and light; neither must the thickness of back and +front be uniform--each must be thicker towards the middle, but how +thick or how thin must depend upon the relative densities of the +wood. The problem was to find the relative densities which would +best vibrate together--a cunning connoisseur in timber can judge of +these densities even by the feel of the wood. Of course the densities +will affect the tone yielded by the wood when set in vibration, and +it is difficult to believe that Stradiuarius and his school were +unacquainted with some exact technical method of testing the acoustic +properties of these woods. + +Monsieur Savart’s experiments with specimen strips of Stradiuarius +backs and bellies showed that in most cases tested there was the +difference of one tone between the belly and the back. A 1717 +and a 1708 Strad back both yielded a F♯, a 1724 and a 1690 Strad +bellies gave the interval, so that Stradiuarius worked his backs +and bellies on some regular principle. On examining specimens of +Joseph Guarnerius, it was found that his best were made with only a +full tone between back and belly; but occasionally the interval was +greater. + +The sound-bar is a subtly proportioned strip of pinewood running +nearly all the way down the middle of the belly inside. The +increasing tension of the modern pitch has made it necessary to +strengthen all the old violin sound-bars, as the increasing demands +for execution have compelled the lengthening of all their necks. + +It is needless to say that the sound-bar readjustment is a delicate +surgical operation, more difficult than the substitution of a long +violin neck for a short one, for the neck no more affects the tone +than the screws in the head. But any blundering with a sound-bar is +fatal to the nervous system of the violin; the _wolf_ may suddenly +be evolved--that horrid dull growl which sets the teeth on edge, and +which, once generated within the violin, is so difficult to diagnose +or to cure. The best old masters finished everything inside their +violins as carefully as the purfling and the joinings which would +meet the eye, and this although a century might elapse before those +tiny smooth blocks in the angles, or that carefully-cut close lining +of wooden strips fitting neatly to the bellies as a glove to the +hand, might chance to be seen at all. + +Many forgeries have thus been rudely unmasked, the forger only having +troubled to make clean the outside of the cup and platter, whilst +within you find the dead men’s bones of his slovenly dishonesty. He +worked only to sell, and to sell by deception (not because he cared +for his craft or respected his instrument), and his works do follow +him! But as Mr Lowell says-- + + “Men as worked thorough is the ones that thrive, + But bad work follers you as long as yer live; + Yer can’t get rid on it, just as sure as sin, + ’Tis allers askin’ to be done agin.” + +The finger-board is of black ebony; in the old fiddles it was often +inlaid. There need be little said about it except that the old +masters would be puzzled to know what a player could want with our +long finger-boards, and still more would they have been puzzled could +they have heard the extraordinary and complex effects we manage to +produce with our extended compass and phenomenal shifts, in spite of +the absence of frets to measure intervals. + +The FINGER-BOARD must be kept smooth and even, or it will not be +possible to “stop” fifths or any other chord in tune. You will +notice in old finger-boards the strings have worn deep channels, +which of course mar the vibration. The height of the strings above +the finger-board is to some extent a matter of fancy, and of course +depends on the height of the bridge. A child or young girl would soon +be discouraged with attempting to press strings raised too high above +the finger-board, and of course the higher you ascend the harder must +be the pressure. On the other hand, if the strings are too close +down, the touch is no doubt light to your heart’s content; but you +cannot get a sufficiently full vibration, and your tone will suffer. + +The BRIDGE! I had almost said the asses’ bridge, for indeed thereby +hangs a tale. The hard-wood bridge, with its whimsical perforated +visage, and its two slender feet clinging closely to the smooth +belly of the violin, has been sometimes treated with scant courtesy +by writers, and even makers do not all seem fully alive to its +importance. I notice repairers will send you back your violin with a +bran-new bridge, and no apology, if they happen to have mislaid or +broken yours. But the bridge not only exercises the most important +and indispensable functions of carrying the four strings under +a combined pressure of seventy pounds, but it is in closer and +more intimate contact with the instrument than any other of its +appendages. It is so squeezed upon the wood as to be almost pressed +into it, far more so than the finger-board or the tailpiece, or even +the blocks and linings. It is charged with the primary vibrations +from the strings and the secondary vibrations of the belly, ribs, +and back; nothing goes on in that wondrous air column enclosed in +the violin walls without the bridge taking cognisance of it, and +possibly hindering or aiding and abetting its successful exit from +the sound-holes. + +I am aware that I have been thought fanciful in this matter, but an +experience of many years has convinced me that it is not easy to get +a bridge that suits a violin perfectly, and most dangerous to trifle +with the close and _quasi_ marital relations which exist between the +violin and its bridge. I dislike new bridges. I love old ones; and +why, when all the rest happens to be old, is the bridge alone to +bring the raw sap of youth to vex the mellow and desiccated repose of +melodious age? + +The position of your bridge, like that of your soundpost, the +adjusting of your screws, the thickness of your strings, belongs +rather to the management than to the constitution of the violin. + +The only further details fit to be noted here seem to be the button +supporting the tailpiece, which has a character of its own, in its +size, material, and fixture; and the far less important tailpiece, to +which we may add the purfling and other occasional inlaying. + +The TAILPIECE, of course, is strictly indispensable, but it does not +much matter what it is made of, or how it is decorated. + +The PURFLING, although occasionally resisting damage to the outlying +edge, is chiefly ornamental, and consists of three thin strips of +wood--two ebony or whalebone, and one of white wood--glued together +and inlaid. + +In the purfling we have the last survival of the inlaying as applied +to musical instruments. You will notice that the further you go +back the more elaborately inlaid are the viols and violins. It was +thought that the instrument, which was little more in those days of +rudimentary music than a toy, might fitly be exploited to show off +the conceit of artists and the skill of cabinet-makers; but as music +developed and tone was reckoned all-important, every detail likely +to interfere with this new development gradually disappeared, till +in the hands of the Cremonese makers the faint memory of all the +gorgeous mother-of-pearl, ebony, ivory, gold and silver embossing, +survives only in the narrow three thin lines of the purfling which +strike the contour of the instrument and give piquancy to its form. + +And thus the perfect sounding violin, though denuded of all +superfluous decoration and meretricious adornment, yet remains a +miracle of art--“a thing of beauty and a joy for ever.” + + + + +CHAPTER III + +VIOLINS AT BRESCIA + + +The violin proper is an Italian creation. It comes from the north of +Italy. Stainer, it is true, is an early maker, and he bore a German +name, but his date is after all 1621-83, whilst that of Maggini is +1590-1632; and if you visit the frontier village of Absam, near the +town of Hall, where he lived, you will observe that he dwelt on the +high-road between the Tyrol and Italy, and that his training, his +talent, and his market were Italian. + +But Brescia was really the home of the violin, and there is possibly +something in the heavy salt seasoning of the Tyrolean pines which +specially favours that peculiar resonance, sensitiveness, and +durability for which the Brescian and Cremonese schools are famous. + +The name of Gasparo di Salò (Bertolotti was his real name), now +chiefly famous for his double-basses and violas, must ever be revered +by students as the master of the great Maggini, who was in reality +the father of the violin, in the sense of having clearly, at once and +for ever, differentiated the instrument as a distinct type. + +Salò is a lovely spot on the shores of the lake of Garda, in the +province of Brescia, and about twenty miles from the big town. It +was early famed for its culture. Foreigners went there for the sake +of its schools, and the Corporation records show that sacred music +especially flourished there. It is now certain that Gasparo migrated +thence to Brescia and worked in that town. Maggini was as certainly +his pupil. This is proved by a legal document, dated 1602, which has +lately been discovered, bearing the joint signatures of Gasparo and +Maggini, who is termed his “garzone,” or apprentice. + +Gasparo’s share in violin-making proper could not have been very +great, as the earliest violin orchestral music appeared in Italy in +1608, and Gasparo died in 1610 or thereabouts--a fact which, taken in +connection with the extreme rareness of any Gaspardian instruments +which can be called violins, seems to argue that the piccolo violino +which was presently going to be master of the situation was only just +creeping up. + +I have seen and played on one very fine Gasparo violin, the property +of Lord Amherst--D and A strings rich and pure, 1st and 4th rather +muffled, but on the whole the tone is mellow and powerful. + +This almost unique Gasparo violin is still bulgy, but a great +improvement on the old viol build; the head is long and +quaint-looking, but lacks that finish and character which later +masters put into their scrolls. Gasparo’s basses are still much +sought after, and Dragonetti possessed more than one. + +A giant specimen, known as the Duke of Leinster’s bass, may still be +seen at the South Kensington Museum, and I exhibited it at the Royal +Institution in 1872. His work is heavy and lacks refinement, but his +tone is grand and full-bodied. + +GIO. PAOLO MAGGINI was the child of his father’s old age, and born +at Botlicino, near the town of Brescia, which afterwards became the +family headquarters. + +Brescia was at this time a strongly fortified place, and a print as +late as 1764 probably gives us a fair notion of what it looked like +between 1560 and 1632. + +Swift brooklets ran down the streets, and outside the walls were +spreading woodlands and ploughed fields. It boasted of a splendid +brick palace, the Broletta, and a massive belfry of rough stone +(Torre del Popolo), a Castello, and an old Duomo; the streets were +adorned with frescoes. The Cathedral of San Pietro de Dom was famous +for its music, and had an organ and full orchestra. The viol-makers +and the monks were then, as they have since been, in intimate +relations, and it was a couple of monks who befriended Gasparo when +he was down in the world in health and fortune, and sadly needed it. + +The princes of Italy at this time (1512-1630) were great patrons +of art, letters, and especially music. Brescia in 1600 was under +Venetian rule. The town or fortress was from its very position +constantly in the midst of wars and rumours of wars, and was +appropriately famed amongst other things for its manufactory of +swords and armour. + +It is surprising how little military commotions seem to have +affected, either at Brescia or at Cremona, the manufacture of musical +instruments. There seems to have been an uninterrupted line of viol +and cither and lute makers at Brescia from 1300 and onwards. + +But when it is remembered that war does not interrupt the functions +of religion or diminish the importance of the clergy (nay, often +enhances both), we can understand that the musical instrument makers +might have been as much in demand, in the stormiest times of the +Visconti and Medici, as druggists, soothsayers, or mountebanks; and +they probably made impartially for friend or foe--for any one, in +fact, who could afford to pay. + +Up to within the last few years very little was known of this man +Gio. Paolo Maggini--Magino or Magicino. As he put only the name +and place, but not the date, on his labels (all dated Magginis are +therefore frauds), it is not easy to assign fixed dates to any of +his instruments, and the personal information to be squeezed out of +them is of the meagrest description. He worked in Brescia; few of his +instruments survive. His violas are as rare as Gasparo’s violins, but +he distances all other makers in the attention that he gave to that +newfangled and suspiciously regarded instrument, the true violin. + +His handwriting, some of which survives, would lead one to suppose +that his education was very moderate, but the signatures of +illustrious princes of this period are no better. Recently, however, +the State Archives of Brescia have revealed some interesting gleams +of information which enable us to show him in his workshop with one +apprentice, Franchino, and a young wife, aged nineteen, Maddalena +Anna, who brought him a dowry, and afterwards children. + +A picture of his house in the Contrada del Palazzo, Vechio del +Podesta, lies before me. It has but two storeys, and the family lived +upstairs, surrendering the ground floor to the violin business. + +In a woodcut by Jost Anian, Zurich (1539-91), we have an authentic +picture of such easy, leisurely, calm workers as Maggini. + +There is the rude substantial bench, the tools, the glue-pot, the +planks and the wood in blocks, bits of fiddles and strips of timber +hung up on the walls; the aproned artificer is carefully trying a +lute as he sits on his three-legged stool. + +What simplicities! Were we to enter in imagination the studios in +which the greatest pictures in the world were being painted about +this time, the same meagre appliances and absence of superfluous +luxury would doubtless have greeted our eyes. + +But our gorgeous modern studios hung with the spoils of the East, and +iridescent with precious pottery and curiously worked metals, our +modern workshops with their exquisite mechanical appliances and all +sorts of labour-saving machines, somehow fail to rival in quality of +production those old masters who sat on three-legged stools, ground +their own pigments, made their own glue and varnish, and chopped and +chiselled their own wood. + +If you consider Maggini’s period (1560-1632) you will see how exactly +the direction of his genius was conditioned by the demands of his age. + +The singing-schools of Naples had resulted in a call for stringed +instruments in increased numbers, but the old viols were seen to +correspond ill to the altered times, and the need for an instrument +which would render leading melodies effectively was felt just in +proportion as such melodies became multiplied with the rise of vocal +music, sacred and profane. + +Most writers on the violin seem to have a passion for cutting up a +maker’s life into periods, as though a man could rise one morning and +say, “Go to now, let us enter upon period number three, in which the +back shall be sloped so, and the belly brought down thus, and the +curve of the bouts tilted, contracted, or elongated thus.” All that +can be safely said is, after such and such a time Maggini or Amati +dropped or adopted this or that feature as a rule, and we may infer +that a maker came under such and such influences, and so forth. + +Now I come to speak of Maggini, I will trace roughly but clearly what +may be called his continuous development, rather than any so-called +three periods. + +Naturally at first the pupil made like his master Gasparo. His +violins suggested big viols on a small scale. They had a heavy look; +they were of large size, which makes the sides seem lower than they +are, for in reality the ribs are not higher than those of the Amati. + +The heads look rough, because, with the reduced size, no increase +of refinement or delicacy has yet been reached; now, they are cut +without symmetry; now, the fluting of the scroll is not smoothed, +even the grooves for the purfling are not neat, nor is the purfling +itself sharp. + +Maggini’s early backs, sides, and bellies are cut on the slab--that +is, across the grain. + +Then Gasparo’s sound-holes have got narrower in the hands of +his pupil, and Gasparo has probably got credit for some of the +improvements of Maggini, as there can be little doubt that some +violins labelled Gasparo are the work of his pupil, just as early +Stradivari violins are in existence signed Nicolo Amati. + +If I may hazard the remark, in my opinion Maggini did not copy so +long or so seriously the work of Gasparo as did Stradivari copy +Nicolo. The reason is obvious. The stride between Gasparo and Maggini +is far greater than that between the late Nicolo and the Strad. By +the time Nicolo died the violin had already risen to that supreme and +independent individuality and dignity which it has never since lost. + +Stradivari got the violin all ready made; it was Maggini’s glory to +have assisted at the individualisation of the “King” type. + +Presently we become aware that Gasparo is dead and buried. The +Maggini bellies now cease to be cut on the slab, but show the long +parallel grain lines of the wood as in the Amatis; the art of wood +selection for sonority and sensitiveness seems already to have +reached the 1650 Cremona level. The sound-holes are more delicate, +but still a little quaint; they are invariably bevelled inwards, a +practice entirely discarded by the Cremona masters. + +Sir Joseph Chitty’s, and Mr Sternberg’s, and the Dumas’ tenors are +good specimens of Maggini’s first independent work illustrating the +above characteristics. The Dumas family were friends of Beethoven, +and enthusiastic admirers of Maggini’s work. They possessed at least +one valuable “chest” of his instruments. A chest is described by an +old writer as “a large hutch with several compartments and partitions +in it, each lined with green baize” (we have since gone heavily into +velvet and plush). + +There are only about eight violas or tenors of Maggini’s known; they +do not vary in their proportions. + +The model of the Dumas viola is of the master’s most arched type--a +feature much exaggerated by Stainer and his followers. It is, like +almost all this master’s specimens, adorned with double purfling, +set close to the edge, with the usual Maggini bevel at the corner +joints. These corners give it a special physiognomy; they are short, +and make no appeal to the eye like the later Cremonas. The tenor’s ∫ ∫ +holes are upright, short, and broad; they are higher than in the same +maker’s violins, the top curves as usual larger than the bottom ones, +the back and belly both in two pieces; the bass bar and blocks inside +have been strengthened; the rough tooth of the well-known Brescian +plane has left its mark on the wood inside. The Dumas tenor is in +exquisite condition; the varnish is unlike the old Gasparo brown, it +glows with rich golden tints. Its type is admirably defined; no one +in looking at this tenor can say, “This is a little violoncello,” or +“This is a big violin.” It is a distinct viola type, and it set the +type for all succeeding violas. The Cremona makers worked on it, but +they did not re-create the tenor; they could not. + +The Dumas-Maggini violin is in equally fine condition; it looks +so new that some have supposed that, although eighty years before +Stradivari, it must be a copy made by Strad of the older master, but +it is absolutely authentic and genuine. + +Before Maggini died, we notice that a very high standard of finish +has been reached, unknown to him in his earlier days, or, as for the +matter of that, to any of his predecessors. Observe the improved +purfling, the bouts and mitres cut with clear intention, but never so +marked in physiognomy as the Amatis, the sound-holes quite as sharp +as theirs; but, above all, the arching has at last come down--this +true hint, so early given, was not at once adopted by Maggini’s +Cremonese successors. Stradivarius at last fixed it and regulated +it in a model from which no later maker has found it safe to depart +with the exception of Duke and Klotz, who obstinately adhered to the +Stainer high bellies with deep side grooves. + +Maggini’s later varnish runs out of the old Gasparo brown into +orange and golden yellow, as luscious as anything to be found in a +Joseph or a Strad. + +[Illustration] + +Although Maggini adhered to his double purfling, there are specimens +of his work in exhibitions without it; and at least one curiously +but not carelessly made instrument is known where the purfling at +the back is neither double nor even inlaid, but merely drawn sharply +in black lines. A very fine single-purfled violin, formerly in the +collection of Prince Caraman Chimay, now in the possession of Mr +Antonietti, possesses an unrivalled tone of the Maggini timbre. Many +of his violins retain the old taste for other inlaid ornamentation. +He does not run into maps and portraits, but a graceful clover-leaf +pattern is often found at top and bottom of his backs, twisted, as it +were, out of the purfling, and a sixfold trefoil sometimes occupies +the centre of the back; but an acute observer has noted that there +is no instance of the central trefoil combined with the clover-leaf +pattern. + +Not less remarkable than this great maker’s definition of the +violin and viola types was his conception of the violoncello. The +Maggini ’cello is not the son of the double-bass, but the father +of the tenor. It is much more like a large tenor than like a small +double-bass; the proportions are, as it were, enlarged from the +tenor, not reduced from the flat-backed bass. Maggini’s bent was +entirely in the direction of the smaller violoncello pattern. + +The early and even the later Cremona ’cellos were too large, and +there is very little doubt that the powerful influence of Maggini +can be traced in the evolution of those perfect but moderately sized +Strad ’cellos which date mostly after 1700. + +The tone of Maggini is full, mellow, and plaintive, rather than +biting like Stainer, bell-resonant like Strad, or soft and sensitive +like Nicolo Amati; but great players like Vieuxtemps, Ole Bull, +Leonard, and De Beriot have found him sufficient, and if more have +not extolled Maggini, it may be on account of the rareness and +inaccessibility of his instruments. + +It has been said by a competent authority that not more than fifty +extant Magginis are known, and in England at present (1897) about +thirty violins, ten violas, and but two violoncellos and one +double-bass. + +Maggini died at the comparatively early age of fifty-one. All +researches made in the archives of S. Lorenzo, his parish church, +have failed to reveal the date of his death, and the worst of it is +that the registers of that church prior to 1700 have disappeared. + +We hear plenty about his wife, Anna Foresti, who died 1651, aged +fifty-eight, and was buried in a neighbouring parish. + +It is more than probable that Maggini himself was a victim to the +plague which raged at Brescia in 1632, and that he was hastily +interred, or, dying at the Pest House, no official note of his death +may have been taken. At any rate, in 1632, the year of the plague, +his son describes himself as “filius quondam Johannis Pauli”--the son +of the late Gio. Paolo. + +His last income-tax return is dated 1626, and he was dead in 1632, +so he must have died at latest in 1632, and therefore could not have +been more than fifty-one. Maggini was doubtless well off, owned +considerable property in and out of town, was the father of six +children, and, what was of far more importance, the father of the +modern violin. + + + + +CHAPTER IV + +VIOLINS AT CREMONA + + +Cremona! Amati! two words making melody with their very syllables, +and a deeper harmony still for the lover of music, from the +association of ideas which they excite. + +With the assumed immigration of makers from Brescia--the emergence +of the Amati family (the name of Amati is not found in the Brescian +archives), and their final residence at Cremona--begins the classic +period of the violin. + +Cremona, ancient city of strife, which, owing to its very situation +(κρι μόνος, “high rock” and “alone”), was the battle-point of the +middle ages from the days of the old Goths and Lombards down to quite +modern times; Cremona, with its stately cathedral so little known +or visited, yet possessing two of the finest red lions couchant, +supporting portico columns of one of the noblest cathedral façades in +Italy; Cremona, with its antiquated back streets, its drowsy quiet +life gliding on apart from the beaten thoroughfares of travel--truly, +Cremona town is a place to set one dreaming! + +I have narrated elsewhere my pilgrimage to the place which so +ungratefully forgets almost the very tradition of the Amati, +Stradivari, and Guarnerii, whose fabrics alone have given it a +musical immortality, and whose names are hung up high like the stars, +which no discords of the middle ages, sieges, or brawls can ever +reach. + +Let us now try and come face to face with these immortal makers. + +Andrea Amati (_père_) settled at Cremona, and made violins from +1520-46. He brought with him his brother Nicolo (not the great +Nicolo, afterwards master of Stradivari, _Italian_, or Stradiuarius, +_Latin_). + +Andrea Amati had two sons, Antonio and Geronimo, who made violins +jointly as well as separately. When Antonio married, the fiddles of +neither seemed to improve. The brothers ceased for a time at least +to work together (there being, it is said, a period in which there +are no joint reductions); but as there are much later violins bearing +their joint names, it has been assumed that they again collaborated. +If we trust some of these late labels--the brothers being born about +1555-56, and one of the joint violins being dated 1687--it would +follow that the venerable artificers were still making violins at the +age of 136 years, which beats Stradivari himself, who only worked +till he was ninety-three. + +Geronimo, according to one writer’s account of his labels, went even +one better, for there is a Geronimo violin dated 1698; so if this +Geronimo, brother of Antonio, was born about 1556, which is tolerably +certain, he went on working even longer than Moses, with his eye +undimmed and his natural strength unabated, down to the age of 148! + +The confusion has arisen from confounding Geronimo, brother of +Antonio, with Geronimo, son of the great Nicolo (born 1649, died +1740). But if there exists a signed Geronimo and Antonio dated 1698, +which seems very doubtful, it would be certainly easier to believe +that, as the demand for Italian instruments by makers of repute had +well set in before 1700, the late Antonio and Geronimo label was +stolen from the old workshops--the last two figures of 16--being +filled in, and the label clapped on to cover the fraud; whilst any +Geronimo violin dated 1698 would be by Geronimo, son of Nicolo; or +at most, one made up by some enterprising pupil out of the débris of +the elder Geronimo’s workshop--perhaps about the time that Nicolo +the Great, son of Geronimo and grandson of Andrea, was working with +his pupils, Stradivari and Andrea, Guarnerii, and his own son, the +younger Geronimo or Girolamo Amati. + +But with this Geronimo Amati, son of Nicolo (born 1649), and a +certain Don Nicolo Amati, an Italian priest, we need not trouble +ourselves beyond recording their names. + +A good deal has been said about Andrea Amati and his violins. He was +certainly the founder of the family, but not much is known about him +except that he probably, almost certainly, acquired from Brescia the +Maggini type, and that his violins are somewhat smaller, arched in +the belly, with a varnish that runs out of the Brescian brown into +the mellow and brilliant gold and ruddy tints common to the Cremona +varnish; the later Amatis have a tendency to revert to the browner +hue. + +That Andrea made some choice violins for Charles IX. of +France--twenty-four violins, twelve large, twelve small pattern, +known as “les petits violons du roi”--there can be no doubt, but they +disappeared from Versailles in the political disturbances about 1790. +The arms of France, we are told, were painted on the backs, and they +are said to have been of beautiful workmanship. + +A ’cello, “Andrea Amati Cremonentis faciebat, 1572,” was sold amongst +some others belonging to Sir William Curtis, May 1827. This is known +as the “Bridge’s viollo.” Its history is romantic, it having been +presented by Pope Pius V. to Charles IX. of France, and surnamed the +“King.” + +The Amati characteristic, which culminates, along with other +qualities of sonority, in the great Nicolo, 1596-1684, is sweetness +of tone; but a certain want of power is noticeable, especially on the +fourth string. The “A” is beautiful, the “E” soft and delicate, and +the third very full and round--qualities which are also conspicuous +in the brothers Geronimo. + +But if Amati tone is of cabinet, not concert quality, its quality is +of a kind unequalled for charm and sensitiveness, and although not +loud, some violins made by the brothers have a considerable carrying +power. + +The Amati heads or scrolls retained a certain simplicity and antique +Brescian look even after the finish and form of the body of the +violin had left the Brescian school far behind. The double purfling +of Brescia is also gone, but the brothers purfled very beautifully, +with a bend of perfect regularity and smoothness. + +The violins of Antonio are better than his brother’s, but the joint +violins are the best, and have been oftenest forged. + +The brothers indeed made excellent violas, but, as the fashion then +was, too large. They have been sometimes cut down. Sir Frederick Gore +Ousely once had a fine specimen, which I remember playing upon many +years ago at Tenby--tone very full and mellow. + +Richard Blagrove, a brother of Henry Blagrove, the admirable early +Monday Popular violinist, was a viola player, and used a reputed +Amati, but it was really a Gagliano. Many of us (1897) can remember +how richly it contributed to the triumph of a quartet, of which +Joachim, Riess, and Piatti were often the other members. + +Her late Majesty the Queen had a fine painted Amati, unfortunately +cut down; and Miss Seton’s Geronimo Amati is a rare specimen, and +from the MS. of Ascenzio, a priest at Madrid, we learn that it was a +favourite violin of Charles IV. of Spain. + +Geronimo, after separating from Antonio, reduced the arching of his +bellies, but, singularly enough, without improving his tone-power. +The over-arching of the early makers and scooped side-curves are +generally supposed to be a vice in acoustics finally overcome by +the gentle natural curve and flatter models of Nicolo, but it is +perhaps possible to ride a theory too hard. I have certainly played +on instruments deeply grooved, with rounded bellies, powerful Dukes +and piercing Stainers, which, according to the orthodox theory, had +no business to sound as loud as they did. It is well known that in +both these Amati makers the late Cremona flat curve is conspicuous by +its absence; and whilst I do not for a moment deny that the flatness +of the Stradivari model is preferable, I think the superiority of +the late Cremona tone may be due to a good many other things beside +that. It will always be a question whether the man who makes possible +the last perfection of an art or the man who actually achieves it is +really the greater genius. Pietro Perugino or Raffaello in painting; +Chaucer or Shakespeare in literature; Handel or Beethoven in music; +Gasparo and Maggini or Stradivari in violin-making; but popular +opinion generally plucks the blossom without troubling itself much +about the roots, and the prices fetched by the finest Strad and the +finest Gasparo, or even Nicolo Amati, practically settle the question +as regards the violin-makers. £400 is an unusual price for a fine +Nicolo (£250 is nearer the mark, 1898); £1000 is not an uncommon +figure for a good Strad, and his finest specimens command £2000 +(1898). + +Nicolo, the great son of Geronimo, was born in 1596, and died close +upon the seventeen hundreds, in 1684. Nicolo was quite aware that he +resumed in himself the fine qualities of his distinguished family +and improved upon them. It is true he did not trouble himself much +with his grandfather Andrea, whom he probably regarded as a worthy +old gentleman quite out of date. There could have been little in +those small, almost three-quarter size, brown varnished, and sweet +but feeble-sounding violins to attract the aspiring grandson; but +there were qualities in the somewhat larger models of the famous +brothers, Geronimo and Antonio, which set his hand and head agoing, +when as a boy he fell to copying and carving backs and bellies, and +twisting ribs and throwing scrolls, in his father’s little workshop +at Cremona, opposite the west front of the Saint Dominic Church. + +Nicolo the Great doubtless followed and imitated his father Geronimo, +but wishing to miss nothing, and perhaps labouring under a sense of +obligation or merely out of genuine affection, his labels embody an +immortal acknowledgment of indebtedness to both masters. They run +thus:--“Nicolaus Amatus Cremonem Hieronymi Fil, _ac Antonij Nepos_ +fecit, 1677.” (The italics are mine.) + +Nicolo the Great’s smaller patterns made in his father’s workshop are +not unfrequently to be met with, and can be picked up for between £80 +and £100, or even less. + +But as we watch his dates, the touch of Nicolo very soon becomes +distinctive. On the death of his father and uncle he found himself +in possession of a workshop which inherited a great name, but which +was destined to transmit to future generations the greatest violin +names in the world. Among the pupils of Nicolo in 1653 sat the +brothers Guarneri, Andrea Guarnerius having witnessed the marriage +of his master Nicolo and signed the register; and by the side of +Andrea Guarnerius sat a young man named Antonio Stradivari, or, as we +usually call him, Stradiuarius. + +Most of the Nicolo violins before 1645 are of the smaller pattern, +but after this date down to 1684, the year of his death, the eye of a +connoisseur will notice an increase in size, a finish in workmanship, +and a more delicate purfle (never double). The model is still +somewhat high in back and belly, but with an increasing tendency +to get flatter; the side-grooving is less pronounced, whilst the +corners are noticeably drawn out into finer points full of character, +arresting the eye, lightening as it were the model, and giving the +whole physiognomy of the instrument a grace and piquancy hitherto +unattempted. + +The sound-holes of Nicolo are pointed and somewhat narrow; the scroll +is cut a little too flat for the later taste, but passes as the +century wanes into a somewhat larger and bolder style. The wood seems +to be chosen almost as much for its mottled or fine-grained beauty as +for its acoustical properties. + +The early Nicolo varnish is of brownish Brescian type, but later on +it glows with the rich amber tints of Cremona, and those dragon-blood +stains which give to some Strads and Josephs such warm and generous +tints like the sunlit dashes of mellow red on a ripe nectarine. + +Mr Somers Cocks (1898) has a most glorious Amati violoncello, “one +of the finest ever seen or heard,” so said to me a distinguished +connoisseur. Mr Marshall Bulley’s violoncello, a Jerome (the +younger) Amati, is also a rare gem of tone and workmanship.[1] + +The grand Amati violin pattern runs some of the Stradivari violins +very hard, and is evidently the model on which the 1700-35 Strads are +“calqué,” as the French say. The side-grooving, generally held to +interfere with the volume of tone, whilst supposed by some to add to +its sweetness, has not disappeared as in the Strad grand model, but +it has become less pronounced. The tone is lovely and sensitive, and +the Nicolo is truly delightful to handle. It is _par excellence_ the +lady’s violin. + +The one before me, where the varnish still remains, melts into light +orange with clear golden gleams in it. If Joseph is the strong +male, Nicholas or Nicolo certainly belongs to the softer and more +yielding sex. The tone is most delicate, and of ravishing sweetness. +It seems to leap out almost before the horse-hair has feathered the +strings. It continues to sing on like a vibrating silver bell, as if +intoxicated with itself, long after the bow has ceased its contact. +In the sweet Nicolo the lover finds no bars, no obstacles; it is won +almost before ’tis wooed (Plate V.). + +[Illustration] + +We are interested to know that in his own time Nicolo’s work was +carefully imitated, if not forged; whilst his supremacy over one +of his best pupils, Francesco Rugereo, Rugieri, or Rugerius, was +clearly acknowledged; for we find that a certain Tomaso Antonio +Vitali, who seems to have bought a violin with a Nicolo label inside, +and paid twelve doubloons (or about £12, 10s.) for it, complained +bitterly that on removing the false label he had discovered the name +of Ruggeri underneath it. The aggrieved Tomaso thereupon applied to +his liege sovereign, the Grand Duke of Modena, for summary redress, +avowing that he had given a higher price because the violin had a +label of Nicolo, “who,” he adds, “was a maker of great repute in his +profession, but now it was proved to be only a violin by Rugerius the +pupil, a maker of less credit.” The violin, he said, was scarce worth +to him more than three doubloons; the petitioner therefore prayed +the Duke for redress. Whether he got it or not was no doubt very +important to him, but of very little consequence to us. The fact that +he made the application is the point. + +The GUARNERII family must have made violas or violins as the sand +of the sea in number, if the frequency of their labels may be taken +as any guide; and in truth they were a long-lived and industrious +family, and doubtless made a good many instruments, chiefly violins. +But the reputation of Andrew and Peter, and above all the great +Giuseppe (Joseph) del Gesù, led to the early fabrication of pseudo +Josephs, and labels in numbers far beyond what all the great makers +of Cremona together could have produced. + +Andrea Guarneri (Andrew Guarnerius) the apprentice, as we have seen, +was one of the witnesses to the great Nicolo Amati’s marriage in +1641, and Nicolo enters his pupil’s name in the church register as +aged fifteen, which gives us the year of his birth, 1626. He worked +on till 1698; in 1652 he married, and two of his sons, Giuseppe (not +the great Giuseppe, his nephew) and Pietro, worthily sustained and +improved upon their father’s reputation. + +Many of the violins of Andrea Guarneri are of the smaller Nicolo +pattern, but somewhat inferior, and not always well finished. The +wood of his rare ’cellos, however, although plain in appearance, can +boast of singularly fine acoustic qualities. + +There is a well-known ’cello now (1897) belonging to Miss Theobald, +of his finest workmanship. + +Giuseppe, second son of Andrea Gianbattista Giuseppe, born 1666 +to 1739, as distinguished from Del Gesù or “Jesus” Giuseppe, +struck out a freer line of work. His narrow-waisted boldly-curved +instruments, with their Brescian-looking sound-holes set low down, +his rich, almost too profusely rich, varnish and fine wood, but not +over-finished workmanship, give his violins quite a characteristic +appearance, and in power of tone they are superior to his father’s. +But next to the great Giuseppe del Gesù, Pietro Guarneri is the +flower of the family, and most sought after by amateurs. + +The grain of his bellies is often wide, the distance between the +sound-holes is conspicuous, the sound-holes themselves are rounder +and less Brescian, the scrolls are beautifully cut, and the varnish +is superb, from golden tints to pale red, which has thrown some +writers into rhapsodies about setting suns and the colours of the +rainbow. + +Passing over a lesser Pietro, son of the lesser Giuseppe, son of +Andrea, who worked at Mantua, we come to the one man who, with the +exception of the great Nicolo, is worthy to measure swords (or bows) +with Stradivari. He came, singularly enough, from a side branch, and +not in direct descent from Andrea or any violin-maker, being the son +of one John Baptist Guarnerius, and was born at Cremona in 1683. + +The father of the great Giuseppe was the son of one Bernardo +Guarnerius, who was a cousin of Andrea, and therefore the great +Joseph was nephew of Andrea Guarnerius, just as the great Nicolo was +the nephew of Andrea Amati; but a distinguished fact separates our +Giuseppe from all his illustrious kinsfolk, and it is this, that his +father, Bernardo, does not seem to have been a violin-maker at all, +so the young Giuseppe owed his teaching most probably to his uncle +and cousins. + +Most writers have speculated blindly enough upon his distinctive +appendage “del Gesù” some talking about the Jesuits or a supposed +religious bent. This is one of the many cases where sapient +antiquaries, in seeking for recondite origins, neglect the simplest +facts and ignore the easiest explanations. What can be more +simple than for the great Giuseppe, conscious of his superiority +to Gianbattista, son of Andrea Guarneri, as well as anxious to +distinguish himself from Gianbattista, his father, and coming _after_ +both, though _preferred_ before them, should call himself the “del +Gesù” or Jesus, who followed after the John Baptist of the family? +So far from indicating any particular reverence for religion, the +assumption of this bold title seems to me to partake more of a +certain irreverent levity; and if, as tradition says, the great +Giuseppe or Joseph was somewhat of a free liver, and perhaps even a +sceptic, he may have had small scruples in so lightly treating sacred +names and subjects. + +The question as to who may have been his master, and the influence +(or otherwise) of Stradivari upon him, has also been involved, as I +think, in needless mystery. + +Since Del Gesù worked at Cremona and must have been, as a cousin and +nephew, a good deal with his uncle and cousins, Andrea, Giovanni, +and Pietro, who lived there, it is no great stretch of fancy to +suppose that when he showed the family bent for violin-making, +he should have been apprenticed to study the art with his cousin +Giuseppe, son of Andrea, in which case he must have lived next door +to where Stradivari was working all through his finest period; and +though Giuseppe’s violins are rightly said to be in the style of his +cousin’s Gianbattista, and he may have drawn his early inspirations +from his cousin, it is impossible to suppose that so able a man +could be in daily contact with and yet wholly insensible to the +influence of the greatest maker who ever lived. Why, he not only +worked next door to Strad, but probably met him every afternoon at +the neighbouring café, and was doubtless often about his shop, year +in year out. + +Of course the differences in the work of the two great masters are +obvious. The massive, bold, and original lines and less scrupulous +finish of Joseph the Great, the powerful (almost brutally powerful) +scroll, the loud trumpet-like imperious tone, all mark the masculine +as contrasted with the sweeter and more feminine qualities of the +gentler, bell-like Strad. The fact also before alluded to, that +between the back and the belly of the Strad there is usually but +one note, whilst between the back and belly of the Giuseppe del +Gesù there are sometimes more, all prove sterling and distinct +originality, as Rafael was distinct from Perugino or Michael Angelo +from Leonardo da Vinci. But enough; for to draw these comparisons +before describing the master may seem like putting the cart before +the horse. + +So let us now, without further ado, locate the great violin shops at +Cremona and peep into workshop No. 6, in the Piazza S. Domenico, now +Piazza Roma. + +In about 1540, Andrea Amati had set up his modest establishment, +trained his sons, and taken apprentices, bequeathing to Nicolo his +plant and pupils. + +Stradivari and the early Guarnerii then worked together, cheek by +jowl; by-and-by Stradivari migrated to No. 5, next door, and the +Guarnerii with Giuseppe del Gesù, who died in 1745, the latest and +greatest of that family (surviving Stradiuarius, who died in 1737, +eight years), then set up at No. 6. + +As I have had occasion to remark elsewhere, these three names, Amati, +the Guarnerii, Stradivari, there be none like them; these three shops +opposite the big Church of S. Domenico, now demolished, there never +were nor will be three such violin shops. + +Here were made, in long, quiet years of peaceful labour, between 1560 +and 1760, in steady and friendly rivalry, all the greatest violins in +the world. + +The Giuseppe del Gesù on which Paganini played, now in the Town Hall +in Genoa, the Stradiuarius on which Ernst, now Lady Hallé (1898), +plays, Canon Percy Hudson’s violoncello, Joachim and Wilhelmj’s +“Strads,” the Alard, the Betts, the Dolphin, the Messie, the Pucelle, +the Tuscan, the Fountaine, the Rode, and the Viotti--these be the +wonders of the violin world. + +But in following the development of the Guarnerii family into the +seventeen hundreds, the position of Giuseppe del Gesù, the king of +the Guarneri, must be clearly defined before we describe the rise +and progress of Stradivari, who ran parallel with, and who, in the +estimation of most violinists, seems to combine in himself, the _ne +plus ultra_ of all violin perfection. + +Nothing about Giuseppe Guarneri del Gesù is more remarkable than +the determined way in which, after examining the Amati types, he +deliberately went back to the Brescian Gasparo and Maggini models +for inspiration. The time had come when powerful tone was wanted. +The Amatis were sensitive, sweet, and weak; in the larger and more +massive Brescians Giuseppe found the suggestion of what he was +destined to make perfect. If only he could add their volume to the +Amati sensitiveness--an hour more or less spent on the cutting of +corners or neater purfling--what did it matter? Strength, power, +was what he wanted, and the sentiment is thrown off in the bulldog +type of his head or scroll, in the thickness of his boards so much +criticised, in the boldness rather than the grace and delicacy of his +curves. + +He tried many experiments: flat make, full make, sound-holes +cut almost perpendicularly, shortened, slanting, and sometimes +disproportionately long. He was watching the effect on the volume and +quality of tone, and when he had in his own way conquered that secret +of grand sonority, whether empirically or by calculation, then, and +not till then, his workmanship improves. + +He was like a man who had no time to think of the delicate cooking +till he had stayed his main appetite. His frequent habit of cutting +the wood upon the cross, _à contre sens_, as in the case of Mr Alfred +Gibson’s instrument (1897), a superb specimen of Del Gesù, shows up +the coruscations of the grain, and brings out each pore and vein by +the agate-like varnish--not agate-like in the sense of the French +chippy varnish, but in its clear crystalline depth and transparency. +Del Gesù’s varnish is never clotted, but is laid on thoroughly, yet +with a light hand. Mr Ruskin used to say that Sir Joshua Reynolds’ +touch was so light that he could paint on a gossamer veil; Del +Gesù’s brush is also as light as a feather. Some of Del Gesù’s later +violins, dating from about 1740, after the death of Stradivarius, are +amongst his finest. The one used by Professor Sauret, and the other +lent to Mr Ludwig by Mr Frazer, are particularly fine, and belong +to this period. Paganini’s Joseph, now in the Town Hall at Genoa, +Alard’s, in the Museum of the Conservatoire of Music, Turin, and +Vieuxtemps’, now in the possession of Maurice Sons, also belong to +this great period. + +The life of Joseph Guarnerius is more or less enveloped in mystery. +It seems, for instance, utterly impossible to get at the truth about +the so-called prison fiddles. Whenever a Joseph or a presumed Joseph +which is not up to Joseph’s standard comes into the market, it is +dubbed a Del Gesù prison-fiddle. + +The story runs that Giuseppe, being a somewhat reckless person, got +into trouble and was locked up for many years, during which time the +gaoler’s daughter got him any wood she could find, and he made these +inferior pot-boiling fiddles, which she disposed of for such moderate +sums as she was able. + +I prefer to put this legend wholly aside. Del Gesù may not have held +sacred things in high estimation, and he may have been somewhat of a +free liver--this rests on the authority of Carlo Bergonzi’s grandson, +who was not even a contemporary of Del Gesù--still he may have got +the gossip from Bergonzi, his own father, who was Stradivari’s pupil, +and doubtless a rival maker; and tongues may wag when interests are +or seem to be opposed, and stories will come forth finely variegated +when there is an extraordinary absence of reliable facts, as there +undoubtedly is in the case of Del Gesù. + +[Illustration] + +There is, however, no direct evidence whatever that Del Gesù was for +years in prison and that he died there, as says the legend; but Canon +Bazzi of Cremona has lately unearthed one Girolamo Guarneri who _did_ +die in prison in 1715, and the names of two very different men, one +illustrious and the other obscure, have before now got mixed up, to +the detriment of the illustrious one. + +Something similar is said to have happened to the great Athanasius, +whose name has been confounded with that of the obscure Pope +Anastasius, in whose presence a creed was recited by one Bishop +Victricius, and the confession of faith thus recited by command of +_Anastasius_ now passes as the creed of Saint _Athanasius_, since it +emphasises the Trinitarian doctrine chiefly connected with the name +of that illustrious doctor. + +A Giuseppe del Gesù is much more difficult to find than a Strad--his +output, as compared to that of Stradivarius, is as one to six; his +life was shorter, and his working career probably more erratic. But +he is placed on a level with the immortal Antonio by some who know +how to handle him, and the prices of his wares have already reached +four figures. + + + + +CHAPTER V + +VIOLINS AT CREMONA--_continued_ + + +There is something inexorable about the concensus of posterity. + +Individuals may chafe under it, and writers may try to reverse its +verdict. You even have crazes for the revival of neglected poets, +painters, and musicians, but you will never succeed in pushing from +their pedestals the great gods whom posterity has once decided to bow +down to. + +De Beriot may choose to play on a Maggini, and Paganini may prefer +his Joseph, but even Maggini, Nicolo Amati, and Giuseppe Guarnerius, +who stand round as it were saluting one another, leave Stradivari +apart by himself like a Colossus on a mountain, and yet no one, not +the greatest connoisseur, is able to say exactly why. When so many +esteem individual violins above some Strads, and when Joseph del +Gesù is held to run the magic master very hard, still Strad stands +apart upon his mountain for all men to look up to and wonder at. And +why? We can only say it is the way with all the greatest; there is +something of the mystery of heaven about the incommunicable touch; +the true aureole forms about no head to order, and the lonely seats +are kept for the mighty. + +Antonio Stradivari or Stradiuarius was born in 1644, and died, in his +ninety-third year, in 1737. We get the date of his death from the +register, and the date of his birth is fixed by a violin label (1736) +in his own handwriting, in which he states that he was ninety-three +years old when he made the instrument. + +Stradiuarius married at the age of twenty-three a woman of +twenty-seven, who had been a widow for three years, whose maiden name +was Ferraboschi, and he adopted her one little girl. By her he had +six children, some of whom died before him. His second wife, whom he +married several years later, bore him five children, two of whom died +before him--so that in all Stradivari had eleven children. None of +them seemed to have inherited their father’s genius; only Omobono and +Francesco Stradivari made even decent fiddles, and so far maintained +the great name as to succeed at first in selling their wares at +their father’s prices. The buyers probably hoped that at least the +wood might have been selected by Stradivari _père_, and much of it +probably was; and if there was the chance of getting a spare rib or +back or belly with a touch of the master upon it, it was surely worth +a little speculation. + +Antonio Stradivari and Andrea Guarneri, as stated before, were young +_garzoni_ or apprentices together in the workshop of the great Nicolo +Amati--sat on the same work bench, used the same tools, and doubtless +discussed the same problems. + +In and out of that shop ran, no doubt, the boy Giuseppe Guarneri to +see his uncle Andrea. He must have always found Stradivari there; +and when, later on, Giuseppe imbibed a taste for fiddle-making, and +became himself the great Del Gesù, it is hard, I insist upon it, to +believe that what must have been a lifelong acquaintance with the +mighty Stradivari should have had no influence whatever in forming +his ideas and methods. + +There is no mention of the youthful Stradivari having accompanied +Andrea Guarneri to the wedding of his master, Nicolo Amati; Andrea +was doubtless the older pupil, and Antonio Stradivari was taken on +later. + +“If thou wouldst teach, learn; if thou wouldst create, first copy.” +It is generally held that for some years, roughly between 1660-70, +Stradiuarius simply made up, blocked out, drew, glued, mixed varnish, +and worked generally, but without signing his own name to any +fiddles. He was _learning_; but in 1660 he begins to sign his name, +not from pride, but because his master made him do so. From before +that date to about 1670, which brings us to within fourteen years of +Nicolo Amati’s death, he made what are sometimes called Amati Strads. + +At this time Antonio followed closely the violins of the early Nicolo +rather than the grand Amati pattern, but he appears to have followed +his master’s developments continuously, slowly, but surely. + +There exists a Stradivari violin with a label Nicholai Amati (anno +1667), and about that date (when he married) Antonio seems to +have left his master’s workshop, but still continued closely to +copy Nicolo, and many violins of his between 1660 and 1670 pass +as Amatis, whilst others are called Amati Strads, and some are +apparently joint productions. + +When Stradiuarius married (about 1667) and left Nicolo Amati, he set +up round the corner in the same street as the brothers Guarnerii, and +almost next door to them, in the square opposite the great Church +of S. Domenico. From about this time connoisseurs notice a great +improvement in Stradivari’s technique; but up to 1672 at least, +remaining a close copyist of Amati, he doubtless kept on terms of the +closest intimacy with Nicolo, now in his decline, and benefited by +the abundance of orders flowing in for Amati violins which the old +master was unable to execute. + +From 1660 to 1684 was a period of great activity, perhaps haste; +even some pot-boiling Stradivari violins may then have been made as +the young family increased. Antonio’s wood is often plain about this +time, and not up to the best taste and selection of his master, but +he evidently remained his right-hand man to the end; and when Nicolo +died, at the ripe age of eighty-eight, he left all his tools and his +plant not to his son Girolamo, then about thirty-five, but to Antonio +Stradivari, then just forty years old. + +In 1680, four years before the death of Nicolo, Antonio had so far +prospered as to be able to buy his house (which I visited in 1880), +at 1 Piazza Roma, for about £800. Desiderio Arisi, a Cremonese, has +left an interesting MS. in which he speaks of “his intimate friend +Antonio Stradivari.” The MS. is dated 1720, or seventeen years before +the death of Stradivari. + +Arisi alludes to a point of great interest which early excited my +attention and curiosity--the many-sidedness of the man. “In Cremona,” +writes Arisi, “is also living my intimate friend Antonio Stradivari, +an excellent maker of _all kinds of musical instruments_.” Indeed, +he could make anything that was in demand, and he did; he could +“fancy-purfle” to order, inlay, make fiddles in odd shapes, or +with a twist in the curve here or there, or longer or shorter for +experiment, or big or small. + +The Marquis Carlo dal Negro of Genoa owned a Stradivari harp in 1820. +The master was not above making mandolines and lutes to order. Messrs +Hill own a perfectly plain Stradivari guitar in fine condition. It +is of exquisite close-grained wood. I have often wanted to hear the +sound of that guitar. I noticed a Stradivari cithern in the South +Kensington Loan Collection with an elaborately carved female head of +great beauty. I did not wonder that he who could carve such scrolls +could carve a head or anything else. + +There are, or were, within the present century, other gems of +workmanship, some of which it is to be feared have perished, +children’s fiddles, instruments made with small figures, flowers, +arabesques. Everything that comes from his hand is finely accurate +in drawing. Sometimes his decoration is merely painted in black, +sometimes ivory, ebony, or mother-of-pearl is used, but everything +Stradivari did was perfectly done; he qualified himself to the _n_th, +as mathematicians say, for each branch of his art. + +In these days one man draws, another blocks out, another inlays, +another finishes. Stradivarius did all, and did all consummately +well. His heads and arabesques are worthy of Cellini, his inlaying +of the finest Florentine marqueterie; his scrolls and curves are of +Pheidian beauty; his varnishing is his own. + +On the death of Amati, Stradiuarius and the Guarnerii had the Cremona +market to themselves, and whilst the competition was quite wholesome, +there is no reason to suppose that their rivalry was other than +a friendly one. They had all been brought up together, they had +worked as boys together, they had doubtless lent each other tools, +touched up each other’s backs and bellies, varnished each other’s +ribs, criticised each other’s scrolls from boyhood; and now that the +Cremona violin was in the ascendant, and kings and nobles from Spain, +France, Germany, Saxony, and even England were anxious for Cremona +fiddles, there was a market for them all. + +The bitterness of competition is not always due to rival makers, +but often to over-production; and such a thing as over-production +of fiddles in those days was unknown. Nay, the orders that came in +could not be executed fast enough. Music walked faster than the +instruments could follow it. When the King of Poland wanted a Strad +violin he knew his man, and sent his Capelmeister Voleme to Cremona, +with orders to stop there and bring back the twelve violins ordered +for the court orchestra. “So,” says Arisi, “Voleme arrived in 1715 +on the 10th June, and remained there three months, and when all the +instruments were ready he took them with him to Poland.” + +But at this time Stradivari was at his zenith. “There is not in the +world,” writes Lorenzo Giustiniani, a Venetian nobleman, to the great +artificer in 1715, “a more skilled maker of musical instruments than +yourself, and as I wish to preserve a record of such an illustrious +man and famous artist, I trouble you with this letter to ask whether +you feel disposed to make me a violin of the highest quality and +finish that you can bestow upon it.” + +But we must not anticipate. + +After the death of the illustrious Nicolo Amati, this patient +pupil, this careful copyist, this accurate and tireless student and +experimentalist, begins to assert his strong individuality. His +scroll departs from the feminine Amati type, and becomes striking +and independent, his sound-holes recline more, his corners are +pronounced, his middle bout curves are prolonged, his varnish is +almost fancifully varied from rich gold to soft velvety red. His wood +is now invariably chosen with the utmost care, and as he made chiefly +for the nobility, royalty, and the higher clerical dignitaries, he +was not only on his mettle, but he could afford to work just as he +chose. + +In 1682, Michele Monzi, a rich Venetian banker, sent him an order for +a chest of violins, altos and ’cellos, which were to be presented to +our King James II. They were so much liked that his Majesty ordered a +viol di gamba of Stradiuarius in 1686. + +[Illustration: + + Rode Strad Spanish Tenor Spanish Strad + + Christina Strad + + CELO] + +In 1685, Cardinal Orsini, afterwards Pope Benedict XIII., had ordered +a violoncello and two violins of him, besides making him “one of his +private attendants,” an honorary title, but equivalent to appointing +Stradiuarius instrument-maker to the Cardinal Archbishop. We commend +this fact to his Holiness Pope Leo XIII. (1897), who has lately +placed the violin on his _index expurgatoritus_ of instruments, as +being too frivolous for the solemnities of divine service! Yet Pius +IX. was a pretty good fiddler. + +In 1687 Stradivari makes his famous set of instruments for the +Spanish Court, inlaid with ivory, with a scroll-work running round +the sides. One of these rarities--a violin--found its way into the +hands of Ole Bull, the famous violinist. It has been since sold in +England to Dr Charles Oldham of Brighton. The tenor is, I believe, in +existence. When last in the market, it had lost its ivory purfling, +which has since been exquisitely replaced by Messrs Hill. + +There are extant several very small violins made evidently to order +about this period. The fallacy of different sizes for different ages +from childhood upwards is one which will always smile to makers +and those acute persons who teach the violin and buy their pupils’ +instruments, which of course have to be changed as the children grow +up, for larger and larger ones. I have always protested against this. +A child of eight had much better play the violin like a violoncello +(at the age of seven, as I did myself) than be given a small one; but +when I was eight I could hold a full-sized violin to my chin--not +quite in the correct position, no doubt, but near enough. Thus from +the very first, when at six or seven years of age, I played the +violin like the violoncello, I never had to _unlearn my intervals_ +in stopping the strings. _The brain learns intervals._ An habitual +tenor player never plays the violin quite in tune, and _vice versâ_; +and so every time a larger violin is placed in the pupil’s hands, the +brain is bothered with the narrower stopping learned in the preceding +period. Still, no one can regret the exquisite cabinet, almost toy +specimens, made by the Amati and Guarnerii as well as by Strad. +Artistically they are gems; musically, fallacies. I have never got +anybody to agree with me about not using dwarf fiddles. Joachim, I +believe, contended that for a child to use a large fiddle stiffens +his muscles. I don’t believe it; it certainly did not stiffen mine. +I believe I am also in a minority in my partiality for old bridges. +Neither theory is, in fact, “good for trade.” + +In 1690 Stradivari executed a celebrated order for the Prince +of Tuscany, through the Marquis Bartholomeo Aribati. Of these +_chefs-d’œuvre_ the Marquis writes: “I assure you the Prince has +accepted your instruments with more pleasure than I could expect. The +players in the orchestra are unanimous in expressing appreciation. +They declare your instruments to be quite perfect; they all say +they never heard a violoncello with such a tone as yours. My having +brought to the knowledge of such a person as his Highness your great +skill will doubtless procure you many orders from his exalted +house”--and then follow more orders for two tenors. On this occasion, +we learn, from the relics of Stradivari in the possession of the +Marquis della Valle, that the great violin-maker characteristically +enough made the most beautiful cases for the royal instruments, +decorating them profusely with armorial bearings and symbols +appropriate to each instrument. + +[Illustration: + + Rode Strad Spanish Tenor Spanish Strad +] + +The order was given in 1684, but the instruments were not handed in +till 1690. The Grand Duke, it seems, came back for more, as there was +found amongst his instruments a violin of the grand pattern bearing +the later date, 1716. + +I cannot forbear to call attention to the exquisite +chromo-lithographs of the Tuscan violin, and the lucid description +and history of this last-named famous masterpiece, in Messrs +Hill’s handsome monograph. He declares it to be in the very finest +preservation still, with an unbroken and authentic record, and to +possess all the noblest qualities of the incomparable master. It is +on the very verge of his great period, bearing the date 1690, and +was bought by Mr David Ker in 1794. The Tuscan viola and violoncello +are still in the Institute at Florence, and I advise all lovers of +Cremona who get the chance to go and inspect them. + +The only other point of great general interest before the year 1700, +when Stradivarius enters on his golden period, is the deliberate +manufacture of a certain number of violins on a pattern distinct from +the Amati, and from any patterns adopted by himself before 1686-1694, +or after 1700. These instruments are known as long Strads, and they +seem to be a sort of constructional or experimental link between +the smaller Amati pattern and the grand Strad pattern of 1700-37--a +model evidently suggested by the grand Nicolo, but not adopted by the +cautious Strad till some years after Nicolo’s death. + +From 1694 to 1700 Stradivari not only went out of his way to make +long Strads, which not only looked longer because they were narrower +and pinched in, but actually were longer--_i.e._ 14-inch, as compared +to the 1690 13-inch Strad. In other respects also he walked through +his own traditions. Having mastered all violin lore, he was evidently +at last trying a series of daring experiments to settle in his own +mind once and for ever certain problems of tone. + +We have known painters trifle with colour in the same way. +Gainsborough would paint his blue boy, and Whistler symphonies in +green, mauve, or anything else unexpected, and Turner would recreate +the light that never was on sea or land; but in reality it was no +trifling, but study in arrangement of colour. So you can have study +in construction, empirical ventures, and a testing of tone problems, +whether in sound or colour. + +As Stradivari mused and carved, and glued and varnished, year after +year, his meditations might run thus: “Flatten the belly--thicker +here or there according to wood, density of fibre; air column +restrained by narrow width, as in the long pattern, but same +cubic inches of air allowed for in length or height of ribs, only +differently defined by different shapes of instruments. Enlarge +width, thin planks, but try different thicknesses; see how different +densities of wood go together. Try old seasoned wood for back, newer +for belly, or _vice versâ_; if wood hard, thin it; if soft, thicken +it; try effect of higher ribs on flat curves; lower the ribs on more +bulgy curves and grooved sides. What did Nicolo aim at with his grand +pattern? Adopt his width and size, and flatten his belly. Try and +save his sweetness (did the grooves give that?) with the flatter +back and belly, which gives louder tone, adopting the mathematical +curve of nature, suggested by the vibration of a string; certainly +that gives power. Is a joined back, or a back in one piece, best or +indifferent? That would depend on wood attainable. How would it be +to patch bits of precious wood if inter-congenial? That generally +succeeds. A good secret that, but an open one--wanted always the +patcher!” + +This idea of patching was certainly one of the most inspired thoughts +that ever occurred to him. He seems to have kept wood of the finest +acoustic properties for his best orders. He had favourite planks; we +can trace one of these by a stain that runs through the grain, and +the wood crops up again and again in some of his best fiddles. + +The plank must have been known to his pupils, for the remains of it +were worked up after his death. + +“Now for the sound-bar,” ponders Stradivari; “thick or thin, +according to the density or elasticity of the back and belly. And its +position? A little transverse, of course--slightly diagonal to be in +the line of vibration. Study effect on power of different strings +by placing it a fraction of an inch one way or another; place it +slightly aslant for experiment. And the varnish?” But that will call +for a few separate paragraphs by-and-by. + +I have tried to indicate the kind of observation and meditation, +demanding unlimited time, patience, and love, which Stradivari +devoted for the better part of a century to his art, and without +which those Cremona _chefs-d’œuvre_, the Dolphin, the Messie, Tuscan, +Betts, and Pucelle Strads, could never have come forth. + +I have alluded to Strad’s taking late to the large Amati pattern for +violins, inclining for some time to the small size. I do not know +that any one has yet noticed that in violoncellos Strad reversed this +order of work, making his early violoncellos large, and diminishing +their size. As he reached his golden period he probably felt that the +demands made by virtuosity and tone-power were quite alike consistent +with a larger type of violin and a smaller and more manageable size +of violoncello. + +The violinist is well aware of the value of Strad’s golden period, +which will cost him gold; for, after about 1700, a fine Strad will be +worth to him from £1000 and upwards, according to its condition. + +The long apprenticeship was at last over, and in 1700 the master +had reached the ripe age of fifty-six, an age at which so many have +achieved their greatest work. He was at the acme of his power, +experience, and fame; no one could teach him anything now, and +apparently he had nothing to learn. He could at last wield his tools +as a Millais or a Tadema wields his brush, a Flaxman his pencil, a +Canova his chisel, or as a Mozart or Wagner handles his score. He +knew what he wanted, and he could do it, and do it with a spontaneous +ease and joy which seems even now to smile to us from the saucy +corners of his bouts, the free daring curves of his grand pattern, +and the lightly tossed and lifted scrolls. + +No one has failed to notice the masterful ease, the emancipation from +all mannerism, the cool defiance of precedent and uniformity, and +even symmetry, which characterises his great period from 1700 to 1730. + +The violins are not all alike. Strad knew that the secret was not +merely in the pattern or shape; he could vary his curves, and yet +produce masterpieces, because he knew all about the air column, the +wood densities, and the proportions and quantities which should be +combined for the requisite result, and he could mix them differently +like a master colourist. He no more treated every violin as if it +had the same constitution than does a physician treat every human +body alike; it is not so much nitrogenous or carbonaceous food, and +so much liquid, but it is these and other things used in proportion, +according to your digestion and temperament, which will produce in +that instrument, your body, the harmony of health; and how close is +the analogy between the constitution of a violin and that of a human +body--how varied is the texture, the tissue, quality, fibre, and +density of the component parts of each--I have endeavoured to point +out as succinctly as I could. + +So, in the grand period, the grand pattern Strads are all made +with a trained, almost inspired instinct, according to those laws +which govern the tone qualities aimed at; but the fiddles are by no +means alike to look at. They have the charm of imaginative variety, +combined with the unity of supreme excellence. + +To this great period belongs the Dolphin Strad, so called, it is +said, from the melting and almost iridescent tints of the varnish. +To me, however, the violin almost suggests the life, freedom, and +elegant poise of that graceful fish whose name it bears. The beauty +and acoustic properties of the Dolphin wood are quite special, and +can easily be compared with other violins of the same period, some of +which are much plainer to look at, and somewhat different in form, +and though very charming, hardly so bell-like in tone. + +The last time I had the privilege of touching the Dolphin Strad was +at my lecture on violins before the Royal Institution in 1880. I +shall never forget its ringing notes and its exquisite sensibility. +It seemed anxious to speak before it was spoken to; when touched, +it seemed to do all for itself like magic. Instead of the player +showing it off, it shows off the player; he begins to feel he has +nothing to learn in tone production. It is almost like sitting at +those ingeniously contrived pianos that make elaborate music, and +you merely have to put your hands on a dummy keyboard, press the +keys, and appear to be playing, and then you roll off Chopin and +Mendelssohn perfectly, though you can scarce play your scales! Since +then Vuillaume’s sound-bar has been replaced with a stronger one by +Messrs Hill. It seemed to me quite perfect before, but I suppose one +must bow to experts in such matters. + +The best opinion limits the number of instruments which Strad made to +about two thousand, only eight hundred of which at most are known to +be extant. Compared with any other maker except Vuillaume, both as +regards output and survival of work, Strad probably bears the palm. + +An elaborate description, a careful portraiture of every known Strad, +together with its history, as far as recoverable, I must leave for +some more gifted and industrious recorder. I believe Messrs Hill are +preparing the most complete monograph on Stradivari which has ever +yet or is ever likely to appear, and I only wish I could dip into +their MS. and steal a few pages. It will certainly, when it appears, +be a monumental work, and there is no time to lose, as many of these +gems are known to have been destroyed, others dismembered, whilst +some are at the bottom of the sea. There are, however, a few more +famous specimens, which are of such unique interest that they cannot +be passed over even in so general a survey as this. + +Mr Croall (1897) of Edinburgh is the happy owner of M. Artôt’s Strad, +varnished dark red, quite perfect, and one of the finest known for +tone; it is dated 1716. Lady Hallé still plays on Ernst’s violin, +bought for £500, and presented to her by the Earl of Dudley and +some others. I shall never forget the wonderful effects elicited +from it by the great magician Ernst in his palmy days, nor can I +understand the statement recently made that its tone is difficult to +elicit. I have heard the faintest vanishing whisper of its strings on +the Covent Garden stage when, as a boy, I was seated up in the top +gallery at one of Benedict’s monster season concerts early in the +fifties. + +A romantic interest attaches to two Stradivari violins which have +come down to us in absolutely perfect condition: one is called the +Messie, the other the Pucelle or the Virgin. + +The Messie was secured by Vuillaume after the death of that +remarkable man Luigi Tarisio, to whom further on I devote a special +section. It bears date 1716. + +Tarisio would never let it be seen till Vuillaume possessed it; it +had then never been touched or played upon. He lengthened the neck, +but, without _inserting_ his new neck, he fixed it to a block placed +outside the ribs. Count Cozio de Salabue had bought it in 1760, but +never allowed it to be played upon. + +Tarisio bought it after the Count’s death, and at his own death in +1854 it passed to Vuillaume, and was exhibited (No. 91) in the South +Kensington Loan Exhibition of 1872, and for the first time unveiled +beneath glass to the gaze of admiring thousands. + +When I first saw the Messie I could not believe my eyes. It was +covered throughout and uniformly with thick rich red-brown varnish, +laid on with a firm brush, level and lavish. It seemed to have +left the workshop only the day before; the anointed glitter of the +fresh varnish was upon it, it looked hardly dry. It is of the grand +pattern, but not heavy and massive like some of the great Del Gesù’s, +but beautiful as a Pheidian carving, full of a certain special grace +and elegance. One “∫” is a shade lower than the other--a practice _so +common_ with Strad, especially in his later period, that it must have +been intentional, his artistic eye not tolerating even the suggestion +of mechanical uniformity. The Greeks worked similarly, no two sides +of their Corinthian capitals ever quite matching. + +The “Messiah” back is in two pieces, the corners are absolutely +unrubbed, and completely covered with varnish--of no other specimen +can this be said. The head is light and graceful, “the scroll,” as +I have elsewhere observed, thrown off like a ribbon lightly curled +about the finger, and drawn in, one side of the scroll cut a little +lower than the other; the lines of the scroll are picked out with +thick black paint; only faint traces of this remain in other violin +heads. The black outline was artistically conceived, as it called +full attention to the scroll curve, always so characteristic a part +of violin physiognomy. + +As the Messiah recently bought by Mr Crawford of Edinburgh for £2000 +has now been played upon, it seems a pity that the world should not +sometimes be allowed to hear its voice; and I venture to say that a +well-advertised concert, in which two of our finest violinists should +be invited to play on the Messiah and the Pucelle--_i.e._, each +player upon each instrument once, thus giving four solos, so that the +audience might hear the same violins under different fingers--would +be an epoch in the musical world. The announcement would doubtless +pack St James’s or any other London hall. + +The Pucelle or Virgin is the last Stradivari violin I have space +to notice. The “Virgin” is so called because its interior organism +had, up to the time when it came into M. Vuillaume’s hands, not been +interfered with--_i.e._, the inside bass bar had never been touched. +All the old violins have had these bars strengthened, and their necks +lengthened, to meet the strain of the modern high-pitch tension of +the strings on the belly, and the lengthened finger-board which the +development of advanced virtuosity demands. + +These readjustments the Pucelle owes to Vuillaume. She is in fine +preservation otherwise, although her varnish is a good deal rubbed +in places. Her contour, so fanciful are even good judges, is by some +considered more graceful than that of the Messiah, but less graceful +by others. To me there seems to be little to choose between them; +each is a distinct conception. + +The Virgin’s varnish is of a rich soft brown and yellow tone, rather +contrasting with the Messiah’s bright red. The head is stronger and +less graceful than that of some Strads (the Dolphin’s, for instance); +the Virgin’s back is in two parts, the belly is a little higher than +that of the Messiah. The only vestige of repair about her is where +the chin has rubbed into the purfling, which has accordingly been +renewed. The corners are somewhat fancifully cut, running straight +out in the top bouts, and hanging away in the lower bouts; there is a +rather marked indentation of the curve beneath them. + +The Virgin is labelled 1709, and she reached Paris in 1840 (of course +it is a Tarisio violin); it has been owned by Mons. le Roy, a banker, +and passed to his heir, Mons. Glanday. She is now the property of a +member of the same family, and is very jealously guarded by her owner. + +In vain does imagination seek to recover the image of the great maker +as he lived and moved and had his being through ninety-three years of +shower and shine. Undisturbed by petty sieges and local disturbances +and changes of administration, sought for and admired impartially by +the friends and the foes of his country, he wrought out calmly his +own matchless ideal. + +Violins have no politics, and the great republic of Art dominates +the ages, and comprehends whilst it survives the rise and fall of +dynasties and empires. + +I sometimes seem to see the grand old man standing at the door of +his modest but comfortable house--a tall, thin, perhaps rather gaunt +figure, most likely not a man of many words, carrying on for ever +mental processes connected with his subtle handicraft, seldom seen +without a chisel in his hand. + +Behold him just risen from his stool, or come round to superintend or +criticise a carelessly cut scroll of Bergonzi, his best pupil; and +before he goes up into that almost sacred attic, open to the air, at +the top of the house, where hang the varnished fiddles and anointed +strips a-drying, he mutters a rebuke or rectifies a curve. + +The old man comes to the door, and stands for a moment looking down +the street. He wears his woollen nightcap and his inevitable leather +apron; he salutes the neighbours as they pass, but they do not stop +to speak to him, they know he has no leisure for that. Only later, +at the café-cabaret, it may be, he will chat with Joseph Guarnerius, +and exhort him to more refinement; or tell his sons they will never +uphold the reputation of the firm if they do not work harder; and +as it is known that the master detests interruptions at home, in +those moments of rare leisure when he emerges with the regularity of +clockwork to sip his _vino_ or _sirop_ or coffee, Capelmeister A. or +Padre B. or Monsignor C. may surprise him for a chat, and inquire +timidly when the violoncello or quartet of violins ordered are likely +to be ready, and get for reply something too enigmatic or oracular to +be of any service; so patrons or patrons’ emissaries had to sit down +at Cremona and wait on the master’s convenience for the masterpieces +that could be got nowhere else. + +His prices seem to have been altogether moderate, but we must +remember that the value of money was far greater in those days, a +sovereign going then nearly as far as five go now. + +He sold his violins for £10 (= £40); the original price of his +violoncellos and violas does not seem to be known. + +Although he had a large family, he must have made, if not inherited, +money, for there seems to have been a proverb current at Cremona, “As +rich as Stradivari.” + +Some years ago, fresh from my visit to the house of Stradivari, then +still standing in the Piazza Roma, Cremona, I gave a full description +of the great maker’s _entourage_, which I need not here repeat; but +a single paragraph may serve better than anything that I can now +write, at the distance of over a decade, to place the reader in the +atmosphere in which Antonio Stradivari worked for more than half a +century. + +I stood in the open loft at the top of his house where still in +the old beams stuck the rusty old nails upon which he hung up his +violins. And I saw out upon the north the wide blue sky, just +mellowing to rich purple, and flecked here and there with orange +streaks prophetic of sunset. Whenever Stradiuarius looked up from +his work, if he looked north his eye fell on the old towers of S. +Marcellino and S. Antonio, if he looked west the Cathedral with +its tall campanile rose dark against the sky, and what a sky! full +of clear sun in the morning, full of pure heat all day, and bathed +with ineffable tints in the cool of the evening when the light lay +low upon vinery and hanging garden, or spangled with ruddy gold the +eaves--the roofs and frescoed walls of the houses. + +Here, up in the high air, with the sun his helper, the light his +minister, the blessed soft airs his journeymen, what time the +work-a-day noise of the city rose and the sound of matins and vespers +was in his ears, through the long warm days worked Antonio Stradivari. + +Before the time came for the busy hand to fail, Antonio ceased to +sign all the violins that he made; but, with an old man’s natural +pride, he continued to sign a few down to the year of his death, +registering the number of his years in each case, and it is from one +of the latest of these, dated 1736, that we know his age. + +He sank quietly to rest, evidently worn out naturally and nobly, if +not with his eye quite undimmed and his natural strength unabated, +certainly still full of marvellous vigour, unpalsied senses, and +undulled perception. + +When the Chapel of the Rosary in the Church of S. Domenico, opposite +to which he had lived all his life, was pulled down, his funeral +tablet was rescued, and it is now in the Town Hall at Cremona; but +where are his ashes? Are they in the present family vault of the +Stradivaris, in the Campo Santo of Cremona, or in the parish of S. +Matthew? I was unable to ascertain. The tablet bears the following +simple inscription:--“Sepolcro di Antonio Stradivari E svoi Eredi, +Anno 1729.” + +Many of his family had preceded him to the grave, both of his wives +and six of his eleven children, his last wife dying only nine months +before him, a significant and painful event in a life so regular +and uneventful, and one which may not unnaturally have hastened +his own end. None of the family seem to have been buried in the S. +Domenico vault, but in one belonging to Signor Francesco Vitani, in +the parish of S. Matthew; so it may be Antonio lies there. + +[Illustration] + +The Church of S. Domenico was pulled down several years ago; the +house of Stradiuarius was destroyed only recently. The Piazza S. +Domenico is now the Piazza Roma, and when an average Cremonese is +asked about Stradivari, he thinks of the fashionable _avocat_ of +that name, who appears to spend his time chiefly at Milan, and may +possibly resent the notion that a man in good society should ever +have had ancestors connected with fiddle-making. _Sic transit._ + +The achievements in violin-making up to the first quarter of the +eighteenth century are clearly summed up in the names of Antonio +Stradivari and Giuseppe (del Gesù) Guarneri. + +It would be an interesting and thorny question to debate whether any +variations of importance or additions in excellence have since been +noticeable, and of course we naturally look to the best Cremonese +makers, who followed these giants of tone-power and sweetness. + +The name of Carlo Bergonzi at once stands out as worthy, if not to +be bracketed with that of the two mighty men, at least to receive +their mantle and reflect something of their lustre. Carlo Bergonzi +was Stradivari’s favourite pupil; he lived next door, and afterwards +occupied Stradivari’s own house with his son. + +He finished many of his master’s late violins, and issued some +others after his death collected from the débris of the great man’s +workshop; and Stradivari left him all his tools and plant. + +He worked at Cremona between 1720-47 or 50, and followed at first +Stradivari’s example; for as Antonio made his early fiddles on the +pattern of Nicolo Amati, so did Bergonzi closely copy the grand Strad +pattern. But later on, and before the death of the old man, Bergonzi +conceived the ambition of attempting to weld the power of Giuseppe +Guarnerius with the round, bright, bell-like sweetness of the +Stradivari. To what extent he succeeded must be left to the judgment +and decision of connoisseurs, but the grand quality for which his +violins are increasingly appreciated is, no doubt, their powerful +sonority; that he clearly saw must be the indispensable quality for +all violins of the future. + +The old tinkling days were over; the feeble, scraping, and muffled +viol tone was a thing of the past. The instrument had finally emerged +from the cloister, was no longer to be a mere adjunct to the voice +in dim sacristies and cathedral choirs; its sphere henceforth was to +be out in the wide, wide world, its triumphs were to be won in the +concert room, the opera house, and the grand musical arenas of solo +virtuosity. + +And so, undoubtedly, what Bergonzi aimed at was body of tone and +_carrying power_, and he won it. This dominant idea has modified +even his pattern. He looks bold and loud. Yet is the pattern not +Guarneri, but Stradivari modified. Notice the larger breadth of the +top curve, a certain bold angularity about the bouts, and a freer +development of the lower part of the violin as well; the sound-holes +set lower and nearer to the purfling, and the flat model which +Stradivari discovered to be favourable to loudness. The scroll is +also characteristic--flatter in some places than that of his master, +but made to look bold and full of self-assertion by reason of the +strongly-defined and prominent curl of the ear, which stands out and +at once challenges attention. + +The whole build is massive. The Bergonzi will outlast the Strad; it +will be the survival, if not of the fittest, of the strongest. The +very varnish is laid on with a lavish hand, to allow for wear and +tear; it is even clotted in places, and is said in some specimens +to have cracked and become scurfy. It is of a red Cremona brown, +velvety, and quite the right sort. + +Until within the last few years Bergonzi has not received his dues; +the scarcity of his instruments may in part account for this; but in +France, and especially in England, he is now fully recognised and +much sought after. There are, however, only about sixty authentic +instruments of his known. His working life was but about twenty-five +years. Two notable Bergonzi violins are those in the possession +of Miss Eissler and Signor Simonetti. There is a famous Bergonzi +double-bass of singularly fine quality now in possession of Mr I. +Sears of Boston. In Count Cozio de Salabue’s collection there were +two very fine Bergonzi violins, dated 1731 and 1733. + +There were five other Bergonzis--a son and grandsons; they all made +fiddles, but they were of no account, and were far surpassed by some +other makers who themselves belong to the decline period of the +Cremona school. + +Although I have called Bergonzi Stradivari’s best pupil, it would be +very unfair to ignore the merit of Lorenzo Guadagnini (1695-1740), +the only one of that name who poses as a pupil of Stradivari. He was +born at Piacenza, but lived at Cremona till about 1740. In about 1795 +he removed to Milan after leaving his master at Cremona, but returned +to die in his native town. His make is bold, his model flat, his +varnish not so rich as his master’s, his head original, but without +the grace of Antonio. + +His son, Giovanni Battista, born at Piacenza, 1711-1786, made +violins which are almost more highly esteemed than his father’s. He +imitated Stradivari perhaps more closely than his father, but Count +Cozio de Salabue, who thought very highly of him and bought several +instruments from him, is careful to mention that Giovanni Battista +Guadagnini prided himself upon being no mere copyist. In fact, the +Guadagnini in the hands of Mr Willy Hess is quite equal to the best +of Lorenzo’s work. He was always changing his place of residence, and +wandered from Piacenza to Milan, and at last to Turin, where he died. +His own explanation was that the envy of rivals made each town too +hot for him, but his neighbours said that his frequent migrations +were due to his own hot temper. There were seven Guadagninis who made +violins between 1695 and 1881, but of these the first two, father and +son, alone need be taken account of. + +It has been the fashion to separate the Italian makers into schools +according to the place at which they happened to live--the Milanese, +the Venetian, the Neapolitan, the Bolognese, etc.; but it is much +more important to notice the influences under which the chief makers +worked than to identify them with special towns. + +A Cremonese who works at Venice but carries the Cremonese traditions +with him, is still a Cremonese, and belongs to the Cremona school. + +Thus, the “mighty Montagnana,” as the novelist Charles Reade called +him, made Cremona violins and violoncellos at Venice. He worked +between 1700-40 as a pupil of Stradivari, and survived his master +only three years. But he came to him when the Cremona art was +already perfected, and studied the finest models, assisting in all +probability at the very manufacture of the most wonderful instruments +in the world. With such a training, on his arrival at Venice he +easily took the lead and kept it, and to this day his instruments, +especially his matchless violoncellos--alas! too few in number--are +little if at all inferior to the best of Antonio. + +Montagnana’s outline is by no means a servile copy, of Stradivari. +It is flattened at top and bottom, and seems to the eye less +graceful; but in his selection of wood, his glorious varnish, the +relative thickness of his slabs, and in the cunning knowledge of +those fibre densities in back and belly which are likely to sound +well together, he is second to none. + +Montagnana no doubt embodies and transplants to Venice the Cremona +secrets. As I noticed in the case of Bergonzi, Montagnana, owing to +the paucity of his instruments as well as to the splendour of his +contemporaries, Strad and Giuseppe Guarneri, has not until lately +received the honour which is due to him. He suffers, too, from having +often been labelled Guarnerius or Bergonzi, makers who had the vogue +of the day. These frauds are now being unmasked, and the few great +successors of the Cremona giants, Bergonzi, Montagnana, Guadagnini, +and Balestrieri (very fine in Guadagnini’s style, flat, big build, +powerful tone), and Storioni, have at last a chance of taking their +proper places and fetching their prices. + +When we come to Lorenzo Storioni (1769-99) we come to the last maker +of importance who can with any show of plausibility be called even a +second or third rate master of Cremona. Storioni’s model was Joseph +Guarnerius, but he copied him more in his rough work than in his +great qualities. In his varnish we notice the singular change which +came over the Cremona varnish after about 1760. Up till then all the +Cremona violins have the Cremona varnish; after that time it simply +disappears. Why is it? This interesting problem I shall have to +consider in my chapter on Cremona varnish. + +Storioni’s instruments are not much esteemed in England as yet, but +are thought a good deal more of in Italy. + +I may here fitly mention the Gagliano family, who are associated +with the Neapolitan school, but really derive their importance +from Cremona. Alessandro Gagliano, the first of the name, was +distinguished for his very fine red varnish, 1695-1730. A violin +remarkable for its tone is the Gennaro Gagliano that has been used by +Mr Otto Peiniger for solo purposes during many years. + +Alessandro Gagliano was actually in early life a _bonâ fide_ pupil of +Stradivari. Finding himself, no doubt, unmercifully overshadowed by +the prestige of the immortal workshops in the square of S. Domenico +at Cremona, and being a person of native enterprise, Alessandro +Gagliano migrated to the South, carrying with him the Cremona +craft, and founded the so-called Neapolitan school. His model was, +of course, the approved flat one of the golden age, 1700-37, but +his scroll is small and rather mean, the ∫ ∫ are set low down, and +the work is sometimes lacking in finish. It is in the varnish of +Alessandro Gagliano that we see some connection with Stradivari, his +varnish very often being fine in colour and of the right texture. + +Attempts have been made to classify the various towns in which +Italian violins were made during the Cremona period into schools, +which is about as profitable an occupation as the attempts to divide +the work of individual makers into distinct periods--one period runs +into another, and one school runs into another. + +Roughly speaking, you find but two influences--the Cremona, _i.e._, +the Nicolo, the great Giuseppe and greater Antonio influence with its +flat form, gentle curves, and red and yellow varnish; and the German, +_i.e._, the Stainer model, of which I shall presently speak, with its +elongated form, arched belly, deep side-grooves, and brown-yellow +varnish. + +Some fine Venetian and Milanese makers like Montagnana and Serafino +inclined to Stainer, whilst the Roman and Neapolitan adhered more +to the Cremona type; but Stainer himself learnt at Cremona, and all +the best men like Tecchler (Rome) and Gagliano (Naples) who went +South copied either Stradivari or Giuseppe Guarnerius. The Milanese +school, on account of the great importance of the capital, naturally +attracted good makers like Grancino, Testore (pupil of Grancino), and +Pietro Giovanni Mantegazza (1687-1720). + +Venice, Florence, and Bologna can also boast of a few respectable +names, but I prefer, for the sake of completeness, to treat them +later more in catalogue style, for the guidance of the student, and +not to mix them up with the great central figures which have formed +the subject, and I hope absorbed the attention, of the reader of this +section. + + + + +CHAPTER VI + +VIOLINS IN GERMANY + + +Of course, by this time, “every schoolboy,” to use Macaulay’s famous +phrase, knows that most things--including, alas! violins--can be made +in Germany faster and cheaper than anywhere else; and if we trust to +German writers like Dr Schebek, we might almost believe that viols, +not to say the violin, originated in Germany. + +I am quite willing to leave the viol origin an open question. If, on +the one hand, Albert Dürer and his father-in-law both made violins +and dated back to 1500, Benvenuto Cellini tells us that long before +1500 his father made the finest Italian viols at Florence; and an +ingenious writer has now unearthed a print by Maso Fineguerra, the +father of engraving about 1460, in which Thalia is represented +playing on a small violin pochette or kit--which, by the way, has +rather upset the idea that the kit was a reduced violin, but seems +to show, on the contrary, that the violin followed the kit instead +of the kit following the violin, the kit being in reality a small +violin. It is thus triumphantly argued by Mr Fleming that even the +predecessor of, and every suggestion of, the violin came from Italy; +but in his ardour he fails to notice that although an Italian print +shows a woman playing on a kit, the kit she plays on might all the +same have been “made in Germany.” + +If I see an English picture with a tomahawk and a boomerang, I do not +assume at once that the objects depicted were necessarily “made in +England.” + +But, as far as this book is concerned, such questions are of quite +secondary importance. It is sufficient to notice that the first +instruments possessing the distinctive features of what we call the +viola and the violin, as distinguished from the viol tribe, came from +Brescia and Cremona; and that the greatest, if not the earliest, +German maker, Jacobus Steiner or Stainer, is commonly reputed to have +studied at Venice, or, as some say, learnt his art under Nicolo Amati +at Cremona. + +As we approach the great figure of Stainer we are in the presence of +a man who stands only second in popular estimation to the greatest +of the Cremona masters. Indeed, so great a musician and eminent +an authority as Sir John Hawkins writes in 1776: “The violins of +Cremona are _exceeded_ [_sic_] only by those of Stainer a German +whose instruments are remarkable for a full and piercing tone.” +The popularity of an English maker, Duke, who followed the German +Stainer model, and whose fiddles were all the rage when good Sir +John wrote, may have a little blinded his eyes to the Cremona +_chefs-d’œuvre_--few of which, if any, he had ever seen. But it is no +small tribute to the power of the German that for at least a hundred +years he retarded the due recognition of the Cremonas and gave a +faulty direction to the violin pattern throughout England, France, +and Germany. + +The arguments in favour of Stainer having visited Cremona in his +early life rest a good deal on romance--the story of his having +been a pupil of the great Nicolo, whose daughter he is said to have +refused to marry, is unreliable. Whether he went home or stayed at +home and married the village belle whom he appears first to have +compromised, and who bore him seven daughters and one son after +marriage and one daughter before, it matters very little to us. + +Poems and novels have been written about this unhappy child of +genius, but, as far as I can gather, the only reliable facts seem to +be these, and they have been quite recently unearthed and sifted by +Herr Ruf, who died at Hall in 1877:-- + +Jacob Steiner or Stainer was undoubtedly born at Absam, a village not +far from Hall. The townlet lay on the high-road between the Tyrol and +Italy, and doubtless nothing that went on in the northern cities of +Lombardy was long in finding its way to Hall, for mules and pedlars +constantly carried all sorts of merchandise--viols, and violins, and +lutes amongst other things--to and fro. The great argument against +Steiner ever having received early instruction at Cremona seems to +be that he affected the tubby raised bellies and deep side-grooves +of the old German viols; but it must be remembered that if as a boy +he came under Nicolo Amati’s influence, it was at a time when Nicolo +himself approached far more nearly the raised viol form than he +did later on when his own model improved. The Steiner pattern is +therefore consistent with all these theories:-- + +Firstly, that Steiner adopted the raised pattern which he found at +Cremona, and which was then common throughout the violin-making +world; that, returning early to Absam, he adhered to it, and, perhaps +from motives of national pride, accentuated it _Germano more_. + +Secondly, that he visited Cremona later, when his own model was +already formed, and was too proud to alter it. + +Thirdly, that German he was, and German he remained, and never went +to Cremona at all. + + * * * * * + +All these questions, upon which much ink and paper have been spent, +remain more interesting to the antiquarian than to the collector. +Still, an indescribable interest and a deep human pathos seem to +cling about the meagre facts of this remarkable man’s life. + +Stainer’s popularity was so enormous that ten times the number of +violins he could ever have made have been attributed to him, and his +name has been forged quite as often as that of the great Stradivari. + +Stainer married in 1645, and was appointed one of the Archducal +servants, 1669; he advanced rapidly in favour, became violin-maker to +the Emperor’s court, and was turning out instruments as fast as he +could make them, forming such admirable pupils as Klotz and Albani, +when he fell a victim to the _odium theologicum_. + +Heretical books were found in his possession, or heretical opinions +were expressed by him, or both. He was, in fact, a Lutheran, and a +Lutheran in Absam was far too near to the preserves of Mother Church, +and very soon, like a hawk on a pheasant run, he was shot down. +Stainer was also miserably in debt, and perhaps somewhat litigious, +as people of genius and independence of character are wont to be. + +In 1677, having got out of prison, Jacobus petitioned the Emperor +Leopold, whose protégé and employé he had been, and who was a +great musical amateur, for money. Leopold lost his opportunity; +unlike Ludwig of Bavaria, who won for himself an easy immortality +by supplying Wagner with funds, Leopold turned a deaf ear to the +immortal violin-maker. + +Stainer seems to have dragged on a wretched existence for six years +longer, overburdened with care and debt. The attentions of his wife +and eight daughters did not prevent him from going mad with worry +and want; nay, a helpless and incompetent family may even have +contributed to this so unhappy close of a splendid but blighted +career. + +They show even now at Absam the bench to which the wretched man is +said to have been bound when his paroxysms came on. He died in 1683, +not only insane but insolvent. His wife died in great poverty six +years afterwards, in 1689. + +There seems no room in this sad life-story for his sentimental +retreat into a monastery on account of his inconsolable grief for the +death (?) of his wife. Had she been such an inestimable blessing, +we might have expected her to have kept her gifted husband alive, +managed his household more thriftily, rescued him from his debts, +moved the hearts of his great patrons, or at least saved him from +going mad. + +But, on the other hand, eight daughters were doubtless a trial to +a couple who seemed always hard up; and the one son, born in 1657 +and dying in infancy, as we learn from a tombstone in the Pilgrims’ +Church at Absam, deprived the great artificer of a coadjutor who +might have been interested in building up the firm, and, perhaps, +brought into it those business faculties without which the most +brilliant abilities in every department of life so often make +shipwreck. + +A certain Marcus Stainer, whose reputed date is about 1665-69, and +who called himself citizen and violin-maker, it is difficult to +connect with the illustrious Jacob, although he has been called his +brother, and some say he was a monk and actually assisted Jacob +Stainer in the workshop. + +The great violinist Tartini is said to have possessed two of this +man’s instruments, called Peter and Paul. + +Veracini, another eminent soloist, is said to have lost both of them +in a shipwreck. + +Herr von Reimer possesses a violin with label “Markus Steiner Burger +und Geigenmacher, anno 1659” (not a very clerical label, by the way), +and that is all that can be ascertained about this other Stainer; for +of an Andreas Stainer, 1660, nothing but the name is known. + +So everything tends to keep the ill-fated genius Jacob apart. Alone +he remains as the one important rival of the Cremonese school; alone +he stands at the head of all the Germans. Genuine Stainer instruments +are rare; Stainer labels, copies, and forgeries are innumerable, and +one of the greatest curses of the fiddle market. + +The general look of a Stainer is so distinct from that of any maker +except such as copied him, that it must arrest the attention of even +a casual observer. + +The Stainer belly is much higher than the back, the rise is kept up +through half its length; the varnish is yellow (or as in the Elector +Stainers), with a sort of pale-rose flush in it. + +The early pattern, deep Amati side-grooves, the long-shaped, +beautifully thrown end of the scroll, sometimes a lion’s head carved +with the art of a Stradivari, the narrow purfling lying close to +the sides of the strong, roundly moulded edges, the circular-topped +sound-holes rather shorter than the Cremonese, peg-box often dark +brown, contrasting with the palish-yellow belly--such are the leading +characteristics of the great Jacob. + +His earlier specimens bear varnish something akin to the Amatis; they +are also of the smaller pattern. A good example of them is one in the +possession of Mr Russell of Bedale, Yorkshire, dated 1645. + +Jacob’s finest type may be seen in the famous Elector Stainer; of +these he is said to have made twelve, one for each of the Electors. +The popular legend refers them to his Benedictine monastery, but +there is no shadow of proof that he ever was there at all; perhaps, +however, if one Markus Stainer who is reputed to have made Peter and +Paul was a monk, _he_ may have been a Benedictine monk, and as the +obscure Guarneri who did get locked up seems to be responsible by +transference for the great Joseph del Gesù’s legendary incarceration, +so Monk Markus may do duty for J. Stainer’s reputed sojourn and +residence in a Benedictine monastery. It matters very little when +the Elector Stainers were made; most connoisseurs are agreed that +the two quite authentic “survivals of the fittest” are miracles of +workmanship, beauty, and the perfection of Stainer tone. + +The Stainer tone! What is there about that tone, which for 150 years +so fascinated the musical world as to dull the perceptions of so +experienced a professor as Sir John Hawkins to the more exquisite +timbre of the finest Cremonas? No one but myself is responsible for +the following conjecture. + +Perhaps there is less tonal difference between the early Amati and +the later Strad than between the early Amati and the full-blown +Stainer; and it may have been the sharp, pungent contrast--the type +of tone that was _quite new_, as it were an original creation--which +at once arrested and held the ear of that epoch. For, after all, +musicians in the seventeenth century were only beginning to be +cultivated in the delicate appreciation of tone _nuances_. The proof +of this would not be far to seek. It is quite notorious, though +to us amazing, that the differences between the Amati, the Strad, +the Guarnerius, and the Bergonzi or Ruggerius, should not have been +more clearly apprehended. When, for instance, a man--an orchestral +leader, too--had bought a Ruggerius and paid for a Joseph, we do not +find that he was dissatisfied with it until he discovered that the +_label_ was false. The superb qualities of the great Joseph have been +appreciated only since the Strad craze; but the world-wide cult of +Strad dates from Tarisio, who began his work of violin exploration +and discovery in 1827, dying only in 1854. But any tyro would be +arrested by the clear, sharp, biting tone of Stainer. A violinist +in the orchestra could make his Stainer cut through all the first +fiddles, and once the taste for that sort of tone was excited, it +would be to the ear what curry, or vinegar, or quinine bitter, or +absinthe is to the palate. The Stainer tone is a sort of drastic, +stinging stimulant to the ear, almost an intoxication; and the ear +that has been once caught by it craves for it, and misses it even in +the loud richness of Joseph, the exquisite velvety timbre of Amati, +or the superb ringing brightness of the great Antonio. + +Thus, in his own original way, Stainer met the crying want of his +age for loud and piercing tone. He was the very antipodes of the +tubby, muffled sound of the old viols. With a bound he reached the +opposite pole. The coarse ears of the multitude were at once tickled +and “grisé,” as the French say, by his wiry intensity; and soloists +soon found that it was an immense help to wield a novel and stinging +timbre which, without any special gift of theirs, awakened attention +like the roll of a drum, or the blast of a cornet, or the tinkle of a +triangle. + +These considerations alone, in my opinion, account for the popularity +of Stainer in all ages; the bulk of hearers belong to the musically +untrained, who like pungency, and desire above all to have their ears +tickled. + +Just in proportion as music developed and the musical ear got trained +to higher and higher refinement, so that specialities of tone became +a cult for the ear, as specialities of colour for the eye, just in +that measure did the great and subtle qualities of the Cremona school +emerge, whilst the rage for Stainer, Klotz, and Duke declined. + +I have no wish to disparage these last-named fine artificers. The +increasing rarity of their instruments, and the really splendid +qualities which we grant ungrudgingly to the best of them, must +always make them much prized, and I fully expect that in a few years +there will be a revival of the Stainer craze, and that his violins +may then touch Cremona prices. I shall be very glad if they do; it +will mean that at last we shall get something like a definite sifting +of this great master’s best specimens, and that in this shaking +in auction rooms, and in the cabinets of collectors, the forged +parasites and impudent copies which have for years sailed under false +colours--labels (libels, I mean)--will fall off into the limbo of +violin refuse and other things “made in Germany.” + +The best pupils and followers of Stainer were Klotz and Albani; +but as it became the fashion to dub every one who made respectable +violins in Germany about that time, and showed traces of the Stainer +model, “pupils” of the great man, modern writers have grown properly +cautious about dogmatising. + +If all Stainer’s reputed pupils had really worked with him, they +ought certainly to have married his eight daughters and relieved him +of some of his heavy family responsibilities. + +Sebastian Klotz or Kloz (1675) and his son Mathias (1696-1709) made +excellent violins, and some prefer the son’s to the father’s. There +were, besides, four other Klotz, relationship uncertain. Sebastian +of Mittenwald visited Florence and Cremona; but although when he +returned to his native town he announced his intention of making +a second Cremona of Mittenwald, he and his family adhered mainly +to the Stainer model, and reproduced very successfully the Stainer +tone. Vidal says that his sons inundated Germany with false Stainers. +Of the great violin manufactory which, on the suppression of the +Mittenwald Fair in the seventeenth century, is said to have revived +the commercial prosperity of the town, no trace now remains; but it +is certain that, whilst the Klotz family lived and worked, a pretty +steady stream of pseudo- (or _scuola_) Stainers poured forth from +Mittenwald till about the year 1750. + +The Albani family, like the Tecchler, stand midway between the +Cremona and the Absam school, but Albani _père_ (1621-73) was +certainly Italian, though he was born and lived at Botzen, in the +Italian Tyrol, where he made German fiddles in the Italian style +and for the Italian market, although his son Joseph was also bitten +with the Cremona model. Albani’s violins pass for Italian; they are +varnished red, and rival the Amati tone, and the Joseph Albanis are +more highly esteemed than the violins of Albani _père_. + +It is further significant of Albani’s popularity in Italy, that +the most accomplished maestro and composer of the early part of +the eighteenth century, Corelli, played on an Albani. This appears +certain from an examination made by Mr Arthur Hill of the will of +the late William Corbet, who had a large collection of rare fiddles, +and disposed of them in his will, where mention is made of an Albani +fiddle, which he left with the memorandum that it had _belonged to +Corelli_. This is a very interesting example of a carefully excavated +fact, and does Mr Arthur Hill great credit. + +Tecchler, also called a pupil of Stainer, is perhaps most esteemed +for his violoncellos, the best of which run the Strad ’cellos very +hard. A very fine Tecchler ’cello is in the possession of Mr E. +W. Hennell (1898), and there are several others in this country. +Tecchler seems to have made few, if any, violins, which is strange, +as his master made few, if any, violoncellos; he worked in Rome +between 1695 and 1735. His instruments are sometimes rather +cumbrous; his varnish is yellow, like Stainer’s. + +The subsequent history of “violins made in Germany” is, to say the +least, very mixed; nothing so good as Stainer was done there before +him, and nothing equal to him has been done there since. + +The golden age of German violin-making begins and ends with Jacobus +Stainer. + + + + +CHAPTER VII + +VIOLINS IN FRANCE + + +Italy and Germany have to look back to their golden age, but it seems +as if France and England had to look forward. + +France and England have never yet gone beyond a doubtful silver age, +but there is good reason to think that the manipulation and alchemy +of time, whilst thinning out by wear and tear and loss the older +gems, will not only transform the Piques and Lupôts, and perhaps the +Vuillaumes and Chanots, but also the Banks, Forsters, and Fendts, and +probably the Dukes and Hills, into golden quality, with very advanced +prices; and so, instead of being, like Artemus Ward’s future, +_behind_ them, they may still be found to have their future _before_ +them. + +The French work contemporaneous with the Cremona period is not +nearly so interesting, nor do the makers appear to have been nearly +so capable as the men who followed them towards the close of the +seventeen hundreds. This is no doubt accounted for by the streams of +violins pouring out of the Italian and German workshops, the superior +reputation of Cremona, which drew at once the patronage of the +Spanish and French Courts, and perhaps the small demand for stringed +instruments in France compared with the huge demand in Italy and +throughout Germany. + +So there was a poor market as yet for French work. + +In Italy, in the luxurious little Duchies and Principalities, as +well as in the churches, and in Germany in the small Electorates, +each of which supported its band and gave an indirect impetus to the +churches, Reformed and Roman Catholic, violin-making flourished, and +so it came to pass that Italy and Germany made for all the world. + +The Cremona period in France can boast of but two considerable names, +Jacques Boquay (1705-30) and Pieray (1700-25). Boquay worked on the +early Cremonese model, which had already been left behind by the +modified forms of Stradivari (1700 great period). His violins have +not yet reached a high selling figure, but may possibly rise; they +are by no means scarce; his varnish is reddish-brown, transparent, +warm and soft. He reverted to the Jerome Amati type, arching even a +little more than Jerome. + +The quality of his tone is good, but it lacks power, which in these +advanced days tells against him except for cabinet playing. + +Claude Pieray (1700-25) worked in Paris, and followed the later Amati +contour, but he was far enough removed from the Cremonese influence +to follow a line of his own. Whilst varying, some think capriciously, +the thickness of his wood, and not always securing the best quality +of wood, he varnished pale red, and turned out a small and large +pattern; but he evidently inclined to the larger pattern of the late +Amati Strad. + +A violin of Pieray’s was advertised in the sale of Tom Britton, the +musical coal-heaver, as “a very beautiful violin, and _as good as a +Cremona_,” which shows that even at that date the Stainer influence, +then so strong in England, had not dimmed the fame of Cremona. +However, it would of course have been absurd to compare him to +Stainer, the affinity between Pieray and Amati being too obvious. + +But the really great silver-gilt if not golden age of French +violin-making dawned with Lupôt (1736-58), was extended by Pique +(1788-1822), Vuillaume (1798-1875), Chanot (1801), Gand (1802), and +Aldric (1792-1840), famous for his varnish; and Fent,[2] an admirable +copyist, whose violins often sell as Lupôt’s copies of Strad. + +The labours of these great French disciples of Cremona, copyists and +occasional forgers as they were, are sufficient to decide for ever +the superiority of the Strad model over all others. Their lives were +chiefly occupied in reproducing the unique Antonio minutely without +attempting the least modification of the ultimate Cremona form, which +he had defined. + +The firm of Lupôt, immortalised by Nicolas Lupôt (1758-1824), dates +back to 1696 or somewhat earlier. The father and grandfather of +Nicolas Lupôt resided at different times at Plombiers, Luneville, +and Orleans, but Nicolas was born at Stuttgart in 1758. He returned +to Orleans in 1770. + +[Illustration: F. TOURTE] + +[Illustration: N. LUPOT] + +Nicolas Lupôt was a man of great discernment, and not carried away +with the fashion of the times. Although during the first twenty years +of his life he must have seen and heard the German model of Stainer +extolled, neither his own work nor yet his father’s show any leaning +towards it. His eye was enamoured with the Stradivari grand pattern, +and his best violins are such loving and faithful copies of the +great Antonio that many amateurs and some professional judges have +been deceived by them. But Lupôt never got rid of the glassy, chippy +French varnish, and although his warm orange tints are generous and +the varnish has been laid on with a lavish hand, the rubbing bare +by time of a Lupôt is very different from that fading away upon the +fibres of a Strad, where always a subtler film protecting the wood +seems to linger, a sort of mist of varnish to the end. + +But Nicolas Lupôt was a great workman, and, as Hamlet modestly puts +it, “indifferently honest”--that is, honest as violin copyists go. He +did not imitate, he _copied_, and varnished throughout; he never aged +his copies prematurely, or tried to take in buyers; he reverenced his +great Cremona model too much to palm off his own work as those of the +master. Of course his violins have rubbed since and aged since, but +they have aged and rubbed honestly, and are every year increasing +in value, and distinctly mellowing in tone and sensitive quality. +The moment Nicolas Lupôt arrived in Paris, early in this century, +his talents were recognised; orders flowed in, and he remained and +remains without a rival in the French school. + +He was appointed maker to the Paris Conservatoire, which involved +the manufacture of the annual prize violin to be presented to the +gold medallist of the year, and to this academic privilege we are +doubtless indebted for some of his finest efforts. A violin which +would annually at the time be associated with one of the chief +musical events of the year, and come under the criticism of all +musical Paris, would certainly call forth the mettle of one who +admittedly “took the cake,” but was not without formidable rivals. + +One of these rivals was Pique. He was in the habit, it is said, of +buying Lupôt’s fiddles unvarnished, varnishing them, and labelling +them with his own name. He had better have left the varnishing alone +and contented himself with a fraudulent label. It is surprising +that he should have stooped to such a device. Pique is quite a +considerable person, second only to Lupôt as a maker. He must have +been influenced by commercial considerations, but his dishonesty is +a great tribute to the superior popularity and merit of Lupôt. Still +Pique was so clever that he could have afforded to be honest. + + * * * * * + +François Gand, who entered as Lupôt’s pupil in 1802, was much beloved +by his master. He became his best pupil, married his daughter, and +succeeded to his business in the Rue Croix des Petits Champs in 1824. + +Time has invented a new industry--the art of repairing--which +François Gand raised to a veritable fine art (Mennégand, Kolliker, +Rambeaux and W. Ebsworth Hill have since rivalled him). Pique would +join and split mutilated grain in such a way that, without the aid of +a microscope, the patch or closed fissure cannot be spotted. He would +spend days over mending a crack; it became with him a sort of passion +of ingenuity. + +It was almost worth breaking a fiddle to have it mended by Gand, and +his exquisite skill and profound knowledge as a repairer no doubt +gave rise to the common but risky notion that an old violin was +improved by being mended, as some surgeons pretend that a skilful +operation will not only prolong life, but positively improve the +constitution. The firm of Gand and Bernadel is still of high standing +in Paris. The violins of François are useful and solidly built, but +lack altogether the Italian grace and finish of his master, Lupôt. + +Pique (1788-1822) is by some held to have run Lupôt very hard as a +copyist of Stradivari. Pique avoids at once the error of the vulgar +copyist, who cannot refrain from emphasising the peculiarities of his +model, and the sin of the brazen forger, who bakes and rubs, treats +with acids, and simulates the cracks and the wear and tear of time. +But Pique had some conscience. He may have passed himself off as +Lupôt, but at least he never posed as Stradivari. + +Those conversant with Pique’s instruments observe a very high and +conscientious finish throughout. Spohr, the violinist and composer, +played for many years on a Lupôt, and was never tired of extolling +both Lupôt and Pique. Pique died in 1822, two years before Lupôt, +and his violins improve every year, and will by-and-by fetch prices +second only to those of Lupôt, which are already up to £200 (1897). + + +A VIGNETTE OF J. B. VUILLAUME. + +If I were to seek for an appropriate pendant to the figure of +William Ebsworth Hill in London, I could not find a better one +than Jean Baptiste Vuillaume of Paris. Yet the two men were very +different;--the careful, neat, systematic enthusiast, with a shrewd +eye to business, and the dreamy worker always apparently in the midst +of a chaos of material, out of which he alone could select at a +moment’s notice what he required; the ready purveyor of whatever sort +of article happened to be wanted, and the careless distributor of his +wares, who forgot what he owed his customers, and kept them waiting +for months; the clever copyist, the reverent repairer, the ingenious +brain for ever evolving new sorts of bows, fiddle shapes, screws; and +the idolater of the old forms, who had so firmly grasped the truth +that violins and all that belonged to them had culminated at Cremona +before the middle of the eighteenth century, that he never aspired to +invent anything new or alter anything old;--the Parisian, who made +many fiddles, and died rich; the Londoner, who made few fiddles, +but repaired innumerable antiques, and died with but a moderate +competence. The force of contrast could go no further; nay, you can +look at the two men’s faces, and see the secret of their characters +writ plain enough. + +[Illustration: J. B. VUILLAUME] + +[Illustration: WILLIAM EBSWORTH HILL] + +I can remember old Hill’s dreamy gaze, peering at me with screwed-up +eyes through his spectacles. You were nothing in particular to him, +duke or pauper; it was your fiddle that gave you the importance +or the reverse in his eyes. But look at Jean Baptiste Vuillaume’s +portrait--it lies before me as I write: the jaunty embroidered and +tasselled velvet skull-cap, the well-arranged black satin tie, the +well-cut coat, the grave sharp look and keen eye, not dreaming at +all, but taking everything in at a glance; the mouth a little aslant, +as we often see it in men of speculative and ingenious minds; the +firm fine nose, and the strong quiet face, but a face that betrays +a mind ever alert, capable of dominating its owner’s gifts, his +customers, and the market generally, whilst the man was genuinely +devoted to the art and craft which made him great, and rich, and +famous. Yes, the two great connoisseurs might well hang side by side +in twin frames, for they are two types, united by a like enthusiasm +and speciality of craft and knowledge, but differently interesting, +variously unique each in his own way. + +Both were hereditary violin-makers, and the tendency--I had almost +said the cult--was born and bred in the blood. + +Vuillaume was early saturated, in his father’s workshop at Mirecourt, +with all the secrets and arts of the trade, long before he served his +apprenticeship. But Paris drew the young fellow, then only nineteen, +with an irresistible magnetism. + +Victor Hugo, that typical Parisian of Parisians, has somewhere +described the Frenchman’s inborn love of his capital, the centre to +him of life, art, pleasure, movement, industry, and invention. So to +Paris must your Jean Baptiste go. But to whom?--to whom but Chanot +(Francis), incomparable worker, copyist, forger, suitable adept, +indeed, for such a bright novice. + +With Chanot, Vuillaume remained till 1821, when he went over to Lété, +the organ-builder, who also dabbled in fiddles, and was glad to +have at his beck and call as a foreman such a specialist, with all +the experience of Mirecourt and the craft of Chanot at his back; in +fact, he lost no time in taking the young man into partnership, and +the partner throve so well that he married in 1828, being then just +thirty years old. + +Things ran smoothly with Vuillaume; his wife did not drink, or abuse +him, or waste his money. His home was happy, and, in the sunshine of +domestic peace, his talents expanded in the direction of that growing +market which was created by the taste for old fiddles, excited by +Tarisio, and supplied by the not always scrupulous skill of Chanot. + +But Vuillaume went one better than Chanot. Chanot’s trick was to +produce such deceptive copies or patch with counterfeit backs +and bellies of his own--or to forge downright a whole antique, +to be foisted upon some unwary but ill-informed enthusiast. But +Vuillaume, to his honour be it said, soon discerned that the world +at large could not be won by fraud, but that men were the slaves of +imagination and sentiment. This timely and philosophic discovery made +him famous and wealthy, almost at a bound. He loved the old Italian +fiddles; he had the best opportunities of seeing them; his admirable +technique enabled him to copy them accurately--to counterfeit the +wear and tear, even the cracks and worm-holes, the inlaying, the +rubbed varnish, the old wood; and for about five pounds, or even +less, he proposed to provide people with new fiddles, which looked +like old ones worth fifty or a hundred pounds. + +The device succeeded beyond the dreams of avarice. Orders poured in +faster than they could be executed. Just look at the old man’s face. +Can you not see the shrewdness, betrayed by that slight pucker in +the lip, which discovered and worked this now familiar tendency of +human nature to possess what _seems_, if you can’t afford to buy what +_is_ really good? It is the secret of cheap art, shoddy satsuma, +coarse blue china, common silks, oleographs, and sham Palais Royal +jewellery galore--every bazaar reeks with it; whilst the biggest +warehouses are not above selling a made-up wine that deceives the +palate, a walking-stick not ebony, only paint or stain, and furniture +not really inlaid, but ditto ditto. So Vuillaume began early those +amazing copies, chiefly of Stradiuarius, which even now deceive the +innocent, and for a moment may even puzzle a connoisseur. Well, it +was no doubt shoddy, but shoddy of the best sort; shoddy raised to a +fine art, like those roses so subtly made out of silk or cambric that +we might easily pop them into water to prevent them from fading. + +This new-found copying industry was a delight as well as a profit to +the clever French craftsman. + +He loved a Cremona; he copied it as men copy the old masters again +and again, till they know every touch of the immortal workman, and +revel in its reproduction. + +“I have completed,” remarked Vuillaume in his declining years, “three +thousand instruments, all sold, all paid for, and the money spent, +and it affords me great satisfaction.” + +Like Ebsworth Hill, Jean Baptiste loved to do it all himself. Every +instrument was varnished carefully by his own hands, and many are +made throughout by him. + +But what is the actual merit of Vuillaume’s violins? Fine work, yes; +admirable counterfeits, yes; but the great expectations raised by the +appearances are unfortunately not always answered by the tone. His +best are good, and will run into forty pounds, perhaps more; but his +worst are dear at five pounds. Nor can Vuillaume pretend to rival in +power his great French predecessors, Pique or Lupôt, who copied, but +without registering the defects of age, accident, and decay, which +are so cleverly reproduced in Vuillaume’s typical specimens. + +It is an exaggeration to say that Vuillaume baked his fiddles; but +he treated the wood chemically in various ways, besides reproducing +cracks and even worm-holes; and this artificial age put upon +his planks not only fails to carry the mellowness and timbre of +wood grown naturally old, but seems actually to impair instead +of improving its quality, and this is but too apparent as the +instruments recede in time farther and farther from the hand of the +too cunning artificer. + +There are, however, a few fine quartets of instruments, one of which, +made for the Comte de Chimay, was lately exposed to public view in +Messrs Hill’s windows in Bond Street. These are varnished equally +throughout, and no attempt at aging the wood or tampering with the +surface is visible. The work throughout is charming and finished, +as in the best Cremonese models, and the only wonder is, that as +everything about them is so good, the tone is not better; still, +everything is relative. But Vuillaume claims to be judged by a high +standard, and so we judge him. + +Vuillaume’s ingenious brain was ever devising improvements and +novelties, but few of them have turned out successes. + +He made a violin tenor, but it never came into use, it being too +cumbrous. He made a steel bow; but, although hollow, it was found to +be too heavy. He made a sourdine tailpiece which acted on the bridge, +but it has never superseded the usual simple dummy contrivance. He +made a self-hairing bow, which is still sold by Mr Withers; but most +violinists prefer to pay a small sum and get their bows haired, just +as most men prefer to get themselves shaved--it is less trouble, and +does not cost much. + +Apart from his undoubted finish as a workman, and skill as a copyist, +Jean Baptiste Vuillaume’s title to fame will rest largely on his +connection with Tarisio. As we have seen, he not only dealt with him +living, but bought all the violins found in the bedroom along with +the peasant carpenter’s lifeless body. + +His possession of the Messie, which he kept in a glass case, and +never allowed any one to touch, was a source of great anxiety to him +during the Paris Commune in 1870. + +He writes to Madame Alard, his daughter, who married the celebrated +violinist of that name: “In my last I spoke to you of Alard’s violin +and my Messie, and of certain valuables I have here. I do not know +what to do with them, for if one survives, one will be able to +recover the valuables when the hubbub is over; and some _sous_ can be +buried, but violins cannot be buried.” And again: “Where ought I to +place all these in case of pillage?” + +He referred chiefly to his violins, and old medals received in the +Paris Exhibition from 1827 to 1855, and the Great Exhibition medal in +London, 1851. + +Later on we are relieved by reading: “I have found quite a safe +hiding-place protected from fire, _et puis à la grace de Dieu_!” + +All went well with the treasures, and in 1875, when he died, the +Messie fell to the joint share of his only two children, Jeanne +and Claire. Jeanne (Madame Alard) bought out Claire’s interest for +five hundred pounds, the violin at that time being valued at one +thousand. In 1890 Messrs Hill bought it for Mr R. Crawford for the +unprecedented figure of two thousand pounds, the largest sum ever +given by a dealer for a single instrument. Mr Charles Reade valued it +at six hundred, but that was several years ago, when a first-class +Strad could be obtained for about three hundred and twenty pounds. +Prices have run up since then, and (like “Charley’s Aunt”[3] as we +write) are “still running”! + +Down to the end of his life Vuillaume was a great dealer, and he +hurried over to London when quite an old man to attend the sale of +Mr Gillot’s fiddles. He mistook the date, and arrived a day after +the sale. He came into Mr Hill’s shop in Wardour Street, and gave +vent to his disappointment. Mr Hill, whom he always visited when in +London, had bought several instruments, and had a second deal with +Vuillaume then and there, much to the Frenchman’s gratification. It +is interesting to catch this glimpse of the two greatest dealers +and artificers of the age face to face for one moment, and in such +friendly and characteristic relations. + + + + +CHAPTER VIII + +VIOLINS IN ENGLAND + + +It is an amusing fact that hardly a Continental writer on musical +instruments, M. Vidal excepted, has thought it worth while to give +any reasoned account of the English viol and violin-makers who have +occupied such a distinguished place in the history of the art. + +I heard the other day of an American school atlas which left out all +the islands in the world as unimportant details calculated to confuse +the minds of young students. England, of course, being a small +island, was one of the first to disappear. + +The names of Barak Norman, Banks, Forster, and Duke may be somewhat +confusing, but we must risk the mention of them just for the sake of +an approximate completeness. + +The fact is, that in Queen Elizabeth’s time the English were really +almost a musical people. Whether the viols came across from the Low +Countries or Germany or from Italy has never seemed to me a matter +of much importance. Undoubtedly the viol and its descendants is +cloisteral, and that means Italian, since all the arts along with +Christianity spread from the great Italian centres--Rome, Florence, +Milan, Brescia; and in Elizabeth’s time Italian influence is as +marked in English music as it is in the Shakspearian drama, or in +these gorgeous brocades, silks, and tapestries that still dazzle us +behind glass at the South Kensington Museum, or in such Elizabethan +gems of Renaissance architecture as Knole and Hatfield, which seem to +touch as with the glory of a foreign world the palatial seats “of our +old nobility.” + +Modern music rises in Elizabeth’s reign with Monte Verde and the +discovery of the octave and the perfect cadence. + +Along with it rise the Italian singing-schools of Naples; whilst the +viols, improved to meet the new demands, culminate in the Brescian, +Maggini and the Cremonese Amati patterns (the very word Madrigala, +the hymn of the Mother of God, is Italian and cloisteral), and the +viols which accompanied such part-songs were doubtless of Italian +origin. + +But, for all that, the viols were genuinely naturalised and +acclimatised in England, and for a short time it seemed as if England +were even going to lead the art of viol manufacture. + +The father of Galileo the astronomer declared in 1583 that the +best lutes were at that time _made in England_, and we know that +lute-making and viol-making so invariably went together that in +France and Italy the violin-maker is to this day called a “lutier”; +and J. J. Rousseau remarks, a little loosely perhaps: “The viol +passed from the Italians to the English, who _first_ began to compose +and play harmonised pieces for it, and who imparted the knowledge to +other kingdoms.” + +Mace, an old writer and quite a musical expert (1676), mentions +the viols of Ross (1598) and Smith (1633) as “old instruments” in +his day. But the movement did not go on, and I cannot for a moment +doubt that what checked the rise of music and the manufacture of +musical instruments in this country was that same Puritan craze which +snubbed art, smashed the stained glass, and mutilated our cathedrals +throughout the land. + +Viols had by this time crept out of the cloister and joined hands +with the frivolous Rebek, used at fairs and pothouses. At all events, +in Cromwell’s time and the “Barebones-praise-God period,” everything +that savoured of festivity was tabooed, and the fury against art +seemed part and parcel of all sincere religion, according to the +masses at least. + +To Cromwell’s honour be it set down that he was personally no +such extremist, and that he, moreover, saved for us Raffael’s +cartoons; but still music in any of its secular forms was mightily +discouraged by the Puritans, whilst in its higher religious form it +was associated with Prelacy and Papacy, and we have to wait for that +reaction in favour of the world, the flesh, and the devil, which +marked the Restoration, and which also made provision for the more +innocent as well as the more perilous delights of music in the home, +the concert room, the theatre, and the sanctuary. + +In Charles I.’s band (1625) there were “eleven violins and four +viols,” so at last the violin was creeping up; but not until Charles +II.’s restoration did the full-fledged violin come in with a rush of +“four-and-twenty” fiddlers, over whom presided no less a person than +the immortal Thomas Purcell, who, in a brief span of life, achieved +his almost Mozartian fame, and died at the early age of twenty-seven, +just ten years younger than the incomparable Wolfgang Amadeus. + +The King had no doubt got his notion of fiddle bands from Louis +XIII.’s “petits violons du roi”; and from the French Court, our +“merrie monarch” borrowed a good many other ideas of a less +respectable and harmless character. + +The King was so seriously addicted to music that he could hardly +hear a sermon and never eat his dinner without the solatium of his +four-and-twenty fiddlers. + +“They played before him at his meals,” writes Anthony Wood in the +diary of his life, “as being more airy and brisk than the viols”; +and the grave Evelyn much resents the invasion of the upstart “petit +violon” and its profane intrusion. He writes in 1662: “One of his +Majesty’s chaplains preached, after which, instead of anthem or +solemn wind music accompanying the organ, was introduced a concert of +twenty-four violins between every pause, in the French fantastical +light way, better suiting a tavern or a playhouse than a church.” + +’Tis an ill wind that blows nobody and nothing any good, and we +cannot doubt that his Majesty’s royal mistresses, like the Duchess +of Cleveland (Barbara Palmer), the Duchess of St Albans (Nell Gwynn, +the actress), the mother of the Duke of Monmouth (Lucy Walters), the +Duchess of Portsmouth (Louise de Querouaille, a French girl), greatly +favoured all the more frivolous diversions with which secular music, +and especially the new-fangled violin, were associated. + +These ladies were bound to be musical, as music undoubtedly delighted +the “merrie monarch,” and flattered his jaded tastes by its frequent +novelty and emotional excitations. + +The revellers at Whitehall soon attracted to the capital the greatest +violin players from foreign parts. The supremacy of the new violin +pattern was achieved, and the rage of virtuosity began. + +Even John Evelyn succumbed to the witchery of Thomas Balzar, a Swede, +who arrived in 1656. He seems to have been the Paganini of the +period, and electrified the Court. Evelyn calls him “incomparable”; +he played off at sight the most amazing difficulties with ravishing +sweetness and “improvements”; he played a full concert on his single +instrument, so that the rest flung down their violins, acknowledging +the victory. As to worthy Mr Paul Wheeler and Mr Mell, who were the +Spohrs and De Beriots of their day, they had to hide their diminished +heads. + +We are not surprised to hear after this that his Majesty installed +the great Balzar as director of his twenty-four violins, retained his +services at court, and buried him in the cloisters of Westminster +Abbey. + +It will be convenient to focus our attention on English violin-making +about this time, for doubtless the arrival of these foreign players, +and the popularity of the king’s band, gave a great impetus to our +native manufacture. The supply of foreign violins, for which there +was now a growing demand abroad--_i.e._, in England and France--began +to give out as the century waned. There were plenty of old _viols_, +but no _old violins_ to fall back upon; the violin was a new product; +and, as the court set the fashion, we should naturally expect +the English viol-makers would be wide awake to the importance of +supplying the new want, and such was the case. + +The Brescian and Cremonese fiddles were hardly known in England, and +what the Italians made were chiefly for home consumption. + +As the English were great viol-makers in Elizabeth’s time, we may +ask: Why did they allow the Italians to take the lead in violins? Why +is the English school of violins at least fifty, and the best English +violins a hundred years later than the early Cremona _chefs-d’œuvre_? +Why is Nicolo Amati’s date 1596-1684, whilst W. Forster is 1713-1801, +Duke 1769, and Banks 1795? The answer is not far to seek: the fact +that violin manufacture was checked by the Puritan movement in +England, whilst its progress in Italy was steady and continuous, +enabled the Italians to steal a march upon us which turned us into +pupils, and pupils afar off too, when we resumed the industry. I do +not say that the superior climatic conditions and generally the art +atmosphere of the small Italian courts must not also be taken into +account; but when attention was called to improved tonal quality, and +a timbre, power, and sensibility undreamed of by the old viol-makers +became _de rigueur_, in response to the demands of virtuosity and the +advance of the musical art, Italy was bound to win; such Tyrolean +woods, such varnish, such sun, such sentiment, as was required for +the perfect evolution of the violin, could hardly be found outside +Italy. Both Spain and Germany confessed to the fact, nor could +England put it aside. Accordingly, the highest praise that was ever +given to an English maker was given to Benjamin Banks (1727-95), who +was called “The English Amati”; but to this day no one has ever been +called “The English Stradivari”! + +Passing by Aireton (died in 1807), who copied Amati, but used yellow +varnish; Henry Jay (1744-77); the famous kit-makers (the kit is a +tiny instrument with normal neck and finger-board, used chiefly by +dancing-masters), the Kennedys, father and son (1730-1870), most +prolific but mediocre fabricators, chiefly of violins and tenors; +Panormo and Parker, the two first excellent eighteenth-century +makers; we make special mention of John Rayman, one of, if not the +earliest, English violin-maker. “An extraordinary Rayman” was amongst +the violins owned by Britton, the musical coal-heaver. Urquhart was +also a maker of exceptional originality. + +Pamphilon (1685) was a fair and excellent workman, high model, +moderate tone, with quite splendid varnish. “Peter Walmsley, at Ye +Golden Harp in Piccadilly,” good copyist of Stainer and an excellent +maker, we are bound to notice on account of his early date and more +solid reputation. + +“Barak Norman” worked and sold fiddles at St Paul’s Churchyard +(1683-1740). His label runs thus, with a ✠ and crown above it, +similar to the labels of Del Gesù, some of which he may have seen: +“Barak Norman and Nathaniel Cross, at the Bass Viol in S. Paul’s +Churchyard, London, fecit 1702.” + +Mr Walter Brooksbank of Windermere had one of the Cross viol da +gamba, in which, after the style of the early bell founders, the +instrument is supposed thus to speak for itself. “Nathaniel Cross +wrought my back and belly” (the scroll and sides being by Barak +Norman). + +Meares, about whom little to speak of is known, except that he was +probably a pupil of Rayman’s, is reputed to have taught Barak Norman. + +Meares is known to have adopted the Brescian model. He was probably +the earliest English maker of violoncellos. He retains some of +the decorative use of purfling, which rapidly went out as the new +violins came in. He runs his purfle into his monogram with attendant +flourishes. Meares made at first chiefly viols, after that tenors of +excellent quality. + +His violins are much esteemed. He was a close copyist of Maggini. + +Three of his viols were exhibited in the South Kensington Loan +Collection of 1872, but one of them, dated 1690, had been cut down. + +It remained for Stradiuarius, in the dawning year of the eighteenth +century, to discover and fix the model of the bass viol that needed +no cutting down. + +The musical world owes a debt of eternal gratitude to the Forster +family; there were four of them. + +“Great-grandfather John (1683), maker of spinning-wheels and violins. + +“Grandfather William, _the_ Forster, commonly called ‘Old Forster.’ + +“Father William, No. 2, who also made spinning-wheels. + +“William, No. 3 (1764-1824).” + +His sons, the two brothers William (1733-1824), and Simon Andrew +(1731-1869). + +The second Forster (1739-1807), William, called “Old Forster,” bears +off the palm. + +Born in the north, a native of Brampton, he made his market, like his +father, out of the spinning-wheel industry of Cumberland, but he was +a many-sided man, a great repairer of viols, and afterwards a maker +of violins, the greatest maker in the north--the greatest maker in +all England. + +He commended his violins to the public by playing on them himself. He +was not beneath playing at country dances and on village greens. + +We may be sure he never lost an opportunity of parting, for a +consideration, with the violin he played upon--since naturally, +people would often be seized with a desire to possess themselves of +an instrument which they had heard discourse such excellent music and +to the purpose. + +Indeed, I have sometimes known professors in these days who would so +cunningly play to their pupils that they have been able to palm off +for considerable sums quite inferior instruments. + +How much more easy must it have been for the man who made them, +and made none but the best, and played them on occasions when his +purchasers’ spirits were high and their dispositions yielding, to +dispose of his exceptional wares. + +About 1759 Forster seems to have concluded that Cumberland was played +out, and, sighing for new worlds to conquer, he came south. He was +quite a young man, but in the great whirlpool of London, as it was +even then, he seems to have sunk so low as cattle-driving, but that +is in itself a tribute to his versatility and pluck. Presently he +sets up in the Commercial Road, East, but finding there neither +demands for spinning-wheels nor fiddles, takes to gunstock-making, +till he at last “strikes ile” with one Beck, of Tower Hill, and there +makes such fiddles that Beck grows fat while Forster remains lean. + +Unable to get his wages raised, he leaves Beck in 1762, and sets up +at Duke’s Court, a site now occupied by the National Gallery. + +For about ten years Forster adopted the high Stainer pattern, then +so popular in England, and attracted the patronage of amateurs like +Colonel West. Afterwards he set up in St Martin’s Lane, and then +went to 348 Strand. He had by this time attracted the attention of +royalty, and the Duke of Cumberland, George III.’s son, is said even +to have once dined with him off black pudding. + +Old Forster’s versatility and enterprise is still further shown by +his opening communications with the great Joseph Haydn, and it is +chiefly to him that England owes the introduction and publication of +Haydn’s immortal Symphonies. + +The shrewd old man doubtless saw the profit which lay hid in a scheme +which would popularise the greatest _writer_ for stringed instruments +who ever lived, and he had not miscalculated. + +The same cleverness which prompted him to give the English a dose of +the Stainer model when Stainer was the rage, prompted him to revert +to the later Amati grand pattern as he reached his ripe maturity. He +also changed his varnish before the close of his life, and is said +to have found the secret of solving amber with the assistance of the +chemist Delaporte, who invented some stuff known as the Verins Martin. + +Amongst his patrons were George III., who, as Prince of Wales, was +fond of playing the violoncello, probably one of “Old Forster’s,” +and who, when he asked Haydn, who had been listening to him, how he +thought he played, received the altogether diplomatic reply, “Vy, +your ’ighness do play like a Brince.” + +Peter Pindar (Dr Walcot) and Bartolozzi the engraver were also +amongst Forster’s patrons. He made but four double-basses, and his +tenors and ’cellos are thought better of than his violins. They are +steadily rising in value. He died in the same year as Haydn (1808). +His son William already suffered much from the foreign competition, +which was just beginning to tell, the duty which protected the +English manufactures having been removed. + +William made some very good instruments, but they do not equal his +father’s; and he made a great deal of rubbish for the trade besides. + +There was no doubt a certain erratic vein in the Forster family, +which in Old Forster took the shape of amazing versatility and +profitable enterprise, but which in his son and grandson degenerated +into speculative eccentricity. The son went in for buying grocery, +and invested in other bad businesses. The grandson turned out very +unmanageable, but clever and many-sided; he worked for a time with +Thomas Kennedy, but got away from him and went in for play-acting, +sometimes taking a turn in the orchestra at the violoncello desk. He +made about fifteen instruments altogether, two or three of which only +approached the Forster high level. He died in 1824, suddenly, whilst +still quite a young man. + +His brother Simon made a large number of violins--tenors and ’cellos; +they are those signed S. A. Forster, but they do not rank very high. +He was the first to write a history of the violin, and has deserved +well of all succeeding writers, who quote him with a touching +simplicity of faith, as though, forsooth, because the first, he must +needs be the best authority. + +At the name of Benjamin Banks all tenor and ’cello players lift their +hats; for although the later importation into England of Cremonas +has somewhat obscured our countryman’s fame, his splendid work--even +surpassed, as some think, by his sons James and Henry--is bound to +hold the market again; and a name extolled by the great virtuoso +Lindley, whose favourite instrument was a Banks, is not likely to be +neglected by Lindley’s successors, even though they may be the happy +possessors of Stradivari basses. + +Benjamin Banks (1727-1795) was a contemporary of Old Forster +(1713-1801), but there is no reason to suppose that the two +artificers ever met or materially interfered with each other; for +Banks worked at Salisbury, whilst Forster worked in London, and no +express trains bore fiddles or fiddle-buyers swiftly to and fro in +those days. + +Benjamin Banks copied Nicolo Amati very closely; but Mr Sandys +speaks of a rare long-shaped violoncello of his quite of the Stainer +pattern, with the round-topped Stainer sound-holes. This was none +other than the great Lindley’s famous instrument which so nearly +escaped destruction in a coach accident. The passengers had a bad +shaking and a bad spill, and Lindley and his violoncello among them; +but the rare enthusiast, in the midst of the confusion, had but +one thought. He flew to his ’cello-case, and was found seated in a +ditch, quietly playing away to assure himself that his beloved was +uninjured. + +Mr Lucas had an excellent Benjamin Banks violin, but Banks tenors +and violoncellos are more esteemed. Banks made no double-basses; +his varnish is yellow-brown, of excellent quality, but badly laid +on, that on his bellies being often clotted, so that, in technical +parlance, it is said to kill the grain. + +The Earl of Pembroke, who presumably knew no better, ordered a +violoncello of Banks to be made entirely out of an old cedar-tree, +which had been blown down in his lordship’s park (Wilton). It was, as +might have been foreseen, a great failure in tone. Of course Banks +made it “right enough,” and pocketed the money, but it is doubtful +whether the Earl ever got his money’s worth. + +I remember a very carefully made violin, all of silver, another +expensive freak of ignorance and eccentricity; doubtless it sounded +like a tin kettle, and was musically of no use whatever. Some of us +may have heard an ingenious itinerant violinist playing on a tin +biscuit-box with similar results. + +Benjamin’s scrolls are not very elegant, but that does not affect +his tone. Benjamin had a very good idea of his own importance, and +probably, too, a suspicion of the extent to which his name would be +taken in vain after his death. He tried to make this more difficult +by not only varying his labels in about four different ways, but also +stamping his instruments in several places with his own peculiar +seal, B.B. + +Benjamin’s sons fell far below their father, but the old man left +quite a number of white unvarnished instruments in a cellar when the +business was sold, all of which were duly completed and sent forth +with his name, to which, however, they have but a partial right; for, +as his sons worked with him, it is by no means certain that every +fiddle in Bank’s shop at the time of his death was made by Benjamin +_père_. + +Duke (1754-69) was remarkable as having largely contributed to create +in England the Stainer furore which so confused the judgment of +amateurs in this country, and retarded for at least fifty years the +triumph of the Stradivari grand pattern. In reality the best Dukes +are on the Amati pattern, but they are few in number, and though +there are innumerable fraudulent Dukes about, a real Duke is seldom +seen. The fraudulent Dukes exaggerate the high bellies and deep +grooving of the earlier Amati, and thus pass for Stainer pattern. +Duke’s varnish is also of a yellow or yellow-brown hue. It is not +likely that Duke’s reputation will increase, though the rarity of +genuine Dukes and the plentiful number of counterfeits may still run +up a few real specimens to fancy prices. + +I cannot close this brief survey of the old English makers without +a mention of Bernard Fendt (1756-1832). He was originally a Swiss +cabinet-maker, but coming to London, went into business with Thomas +Dodd, for whom, and with whom, he began to make violins. Fendt soon +got hold of another cabinet-maker, a compatriot, and Dodd took him +also into the business. These two clever artificers soon raised +Dodd’s business to great prosperity, and Dodd thus had the honour of +putting his own name in their violins. All he had done, however, was +to varnish them, but he did that superlatively well, so that Dodd’s +varnish became as famous as Dodd’s bows. + +Fendt afterwards left Dodd and worked for John Betts, who was famous +for his imitations of Amati, which he said paid better than making +fiddles with his own name in them. Many of his best imitations were +made by Fendt, who has thus created the reputation of two makers +besides himself. His son, who died only in 1851, would have equalled +his father had he not been seduced by the vicious practice of +prematurely aging his violins, thus pandering to the taste for old +fiddles at the expense of the fiddles themselves--for it is notorious +that such frauds do not improve by age. + + +A VIGNETTE OF W. E. HILL. + +Dark--yes, to my eyes very dark; but the light in William Ebsworth +Hill’s old shop in Wardour Street was good enough for him; a greater +glare might have flouted those hundreds of old brown fiddles, +and dusty débris of fiddles, which that very moderately sized +establishment was hung, lined, strewn, and littered o’er with. + +So the dim light, relieved on foggy days with a casual gas-jet, or +even a candle-end, seemed better than the garish sunlight for that +dusky brood--even as the moonbeam, according to Sir Walter Scott, +touched the grey ruins of Melrose more tenderly than the light of +day. + +There were no electric lamps in those days (in 1870), consequently no +patent asbestos appliances for converting the impure London gas into +a specious and blazing rival. + +Mr Hill tried to do too much. In his back shop he conducted repairs, +and frequently brought his “repairs” into the front shop. I have seen +him there, behind the counter, busy with gouge, knife, or scraper. +When customers or applicants for advice arrived--some with cheap +German fiddles which they fondly believed to be rare specimens of +Cremona, others with their own good, bad, and indifferent instruments +to be done up--they were received one and all with the same mild and +tolerant inattention, born not of incivility, but of abstraction. +Such as knew Mr Hill in those days, knew the nearest approach we +shall perhaps ever see to the great Cremona makers. I do not say that +any of Mr Hill’s work (barring his exquisite repairs and carving) is +likely to rank with theirs; he was an admirable maker, but he very +soon left off making. When the duty on foreign violins was removed +there poured into England a continuous stream of fiddles, which +entirely swamped the demand for new ones of English make. Mr Hill, +following the market, turned his attention to repairing and dealing; +but the art and craft atmosphere, the knowledge, the familiarity +with violin constitution, the infallible intuition and single-minded +love of the violin for its own sake, as a thing of beauty, wonder, +mystery, more than enough to monopolise a lifetime of devotion--this +is what made Mr Ebsworth Hill the spiritual heir of the grand old +fiddle-makers. “Why,” he said to me once, “talk about not knowing +the touch of this or that maker? I know the sort of tools Stradivari +or Joseph used. I can see the mark of a special favourite knife here +or gouge there. I know which way he used to cut and slice, and how +he held his tool for such and such a kind of finish. I can see ’em +at work, and the handling of one is no more like another’s than the +touch of one painter is like another’s.” + +When you took a fiddle in to show Mr Hill, you had to wait Mr Hill’s +good time; he seldom answered immediately he was spoken to, but would +look up dreamily through his spectacles without laying down his file +or knife, and let off some such dogmatic and oracular sentence as: +“You want to know how I can tell a fiddle. Well, I don’t know how I +can tell; and there are days when I don’t trust my judgment--days I +can’t see, for instance. I leave off looking at fiddles for a day +or two; and when I come back I take up this fiddle and that, and +just at first I can’t see anything--those fiddles tell me nothing; +it’s a peculiar state of mind--just as a player or a surgeon’s hand +gets out, so a judge’s eye gets out. I know exactly when I see and +when I can’t see, and when I can’t see I hold my tongue; and I know +exactly how much I can see, but I don’t tell everybody.” The casual +visitor could make very little of old Hill at first. There was a +curious sort of inner otherwhereness--to coin a word--about him. Some +people found him very trying indeed. You never knew whether he heard +what you said; but when at last he favoured you with a remark, you +discovered that he had not only heard your words, but that he had +accurately gauged _you_. + +His action was often unexpected and sometimes alarming. I one day +entered his shop with a friend who had a fiddle which he much +prized, and indeed it was a really valuable instrument, but needed +overhauling. + +We both stood in front of the counter, and old Hill was bending over +a scroll that he was fitting on to a new neck. I addressed him on +behalf of my friend, but he took no notice whatever; he remained +absorbed in his delicate adjustments; and no Prince of the blood +would have fared any better than we did until he had finished what he +was about. Again I mentioned my friend’s name: “Mr ---- has brought +you his fiddle to look at by my advice. Perhaps you can tell him what +ought to be done.” Hill looked up, nodded, eyed my friend through his +spectacles with cold interest, and then resumed his work. I had to +rouse him a second time before he seemed to grasp the fact that my +anxious friend had taken his precious Cremona from its case and was +standing with it in his hand ready for the magician’s inspection. + +At last Hill laid down his tool, and taking the instrument in his +hands, gave it one quick glance and a couple of taps; he then +deliberately looked in its astonished owner’s face, tore off the +finger-board, loosened the neck, and drove a knife under the belly. +The fiddle was soon in pieces, and he threw the loose fragments aside +in a heap, took up his repairs again, and said he would attend to the +matter by-and-by, and the gentleman need not stop; and we got no more +out of old Hill that day, who immediately became reabsorbed in his +work. + +I shall never forget the rueful and amazed look with which my poor +friend beheld the tearing to pieces of his Cremona, but I touched him +on the arm, and seeing that Hill was in no mood for talk, got him +out of the shop, assuring him that it was all right, and that the +great repairer had shown more interest than usual in his valuable +instrument, or he would never have torn it to pieces then and there; +and with such words I strove to comfort my perplexed and anxious +friend. + +I am bound to add that although Hill kept him waiting several months, +when the fiddle came back its owner was more than satisfied, and +declared that he then heard his Cremona for the first time. + +Mr William Ebsworth Hill came of a family of violin-makers and +violin-players. Joseph Hill, who was born 1715, was proud to trace +his descent from the “Mr Hill” mentioned in Pepys’ Diary as being +employed to alter his lute and viall. + +Joseph was a prolific and excellent violin-maker, and carried on +business in the early part of the eighteenth century at the sign of +the Harp and Flute in the Haymarket. + +He had five sons; all made violins and three played professionally, +whilst the other two, like the present four brothers Hill in Bond +Street, followed their father’s vocation alone. The third son, Lockey +Hill, was the father of Henry Lockey Hill, who became in his turn +the father of William Ebsworth Hill, known in the middle of this +century as Mr Hill of Wardour Street. Hill’s father, Henry Lockey, +an excellent violin-maker, died in 1835. The Hills seem prolific in +sons, and Lockey left four sons. Henry distinguished himself as an +admirable quartet player, and well do I remember the splendid tone of +his Barak Norman tenor at Willis’ Rooms as far back I think as 1848, +when, with Sainton, Piatti, and Cooper--one of the best, as it was +almost the earliest string quartet cast in London--he assisted in +delighting and educating a select public in the mysteries of chamber +music, which has been since so freely expounded by Ella’s Musical +Union and the Monday Popular Concerts. + +Berlioz always spoke of Henry Hill in terms of the highest praise; he +even went so far as to say that he considered him one of the first +performers in Europe. + +It is seldom that a tenor player ever comes in for direct +commendation. He acts as a sort of go-between to violoncello and +violin; but his individual efforts, although so important to the +combined effect, are usually lost sight of between the grand work of +the bass and the brilliant lead and musical embroideries of the first +and second violins. + +There are too few concertos or strong parts written for the poor +tenor, the Cinderella of the establishment, which is regrettable when +one thinks of the glorious violas of Maggini and the Amati. Mr Hill’s +Barak Norman is now the property of Mr Doyle. + +William Ebsworth Hill, our great repairer, connoisseur, and dealer +all in one, was born in 1817. He was educated at the Borough Road +School, under the well-known Dr Lancaster, but it is certain that +he went early to the bench, for at the age of fourteen we find him +employed in cutting bridges in his father’s workshop. + +For this purpose he used only a bradawl and a knife, and towards the +end of his life he returned to bridge-cutting, and has left many +beautiful specimens. His sons have a collection of two hundred, and +no two of the same pattern; they have also reverently preserved +under glass his simple tools. He worked with extraordinary rapidity, +equalled by his fastidious finish. He preferred the commonest +tools, so only they were of the finest metal. He used to scorn the +mechanical labour-saving appliances which now enable workmen to turn +out hundreds instead of dozens of fiddles, and he heartily despised +artificers who needed an elaborate plant before they could produce +anything decent. A good maker, he was wont to say, could make a +fiddle “with a knife and fork.” Mr Hill’s skill in bridge-making on +one occasion misled so eminent a judge as Monsieur Fétis, of the +Brussels Conservatoire. In 1851, the Prince Consort having expressed +a wish to hear a concert of old instruments, a viol d’amore which +was to be played by Ebsworth’s brother, Henry Hill, required a new +bridge, which Ebsworth very quickly made. I remember hearing Hill +perform on this viol d’amore with seven strings, at one of Monsieur +Julien’s Popular Concerts at the old Surrey Gardens. The elaborate +arpeggios were most fascinating, and unlike anything I ever listened +to before or have ever heard since. In due time the viol d’amore, +which had been lent by the Brussels Conservatoire, was returned, +and Monsieur Fétis, who was the Principal, and engaged at that time +in writing his valuable monograph on Stradivari, was very much bent +upon hunting up old bridges. He happened to pitch upon the viol +d’amore bridge, which he declared to be a highly interesting specimen +of the artistic work of the great Cremona period. Mr Alfred Hill, +one of Ebsworth Hill’s sons, happened to be at Brussels, and his +attention was called to Monsieur Fétis’ eulogium on the antique viol +d’amore bridge. “That,” says Mr Alfred to Monsieur Victor Mahillon +the curator, “is not an old bridge; it was cut by my father.” An +incredulous smile overspread the worthy curator’s face, which was +quickly changed into a look of apologetic admiration and surprise +when Mr Hill, junior, turning up the bridge, pointed to “W. E. Hill” +stamped upon it. + +Ebsworth Hill’s father died in 1835, and not long afterwards +Ebsworth, wishing to perfect himself in the technique of his art, +went to study under the accomplished maker Charles Harris, of Oxford. + +About 1838 he set up for himself in St George’s Road, Southwark. + +Mr Woolhouse, the well-known collector, was one of his earliest +patrons; but his fame soon spread, and he found he had more work than +he could well manage. He was also much resorted to as one of the few +men whose judgment on a violin admitted of no appeal, and who could +be trusted to give an honest opinion. + +From Southwark, Hill went to Wardour Street, which for many years +was as much the violin quarter in London as the Rue Croix des Petits +Champs is in Paris. It was there, when I was little more than a +boy, that I first made Mr Hill’s acquaintance. I used to take him +my fiddles, and I was always drawn to the young boys, his sons, who +frequented their father’s shop, and had the profoundest sense of +his importance and ability. It is not too much to say that Arthur, +Alfred, William, and Walter Hill have enjoyed unique opportunities +from their earliest childhood, and have not failed to qualify +themselves assiduously for the high position that the firm of Hill & +Sons now holds in the violin world. + +The boys inherited violin tendencies. They were steeped from +childhood in violin tradition. They had special chances for seeing, +handling, and diagnosing most of the great violins now extant. No +time or money was spared by their father on the boys’ education, and +certainly no boys ever made a better use of their privileges. + +Alfred and Walter went to Mirecourt, to study all that could be +taught in the most scientific and celebrated workshop in the world. + +Arthur stayed at home and kept his eye in, being always in close +attendance on his father, and never missing an opportunity of +acquiring a new fact, or a fiddle, old or new, which was likely to +bring grist to the mill or credit to the firm. + +From what has been said it may have been inferred, and not +erroneously, that Ebsworth Hill was not, financially speaking, +a business man--though he did all his own business. For years +everything that came into the shop passed through his hands; he +made every repair, doctored every fiddle, adjusted every screw, +regulated or replaced every sound-bar and sound-post, and even strung +the fiddles for his clients with his own hand--in short, he did or +closely superintended everything; division of labour, to the extent +to which it is now carried, being a thing unknown in those early days. + +That such a system could not bring in large profits was obvious. Hill +had many bad debts; his memory for fiddles was infallible, but his +memory for accounts shocking, and he was cheated right and left. + +His fame was so widespread that orders poured in which could not be +executed; and when the old man’s apparently inexhaustible powers of +work began to give out, the sons, who had watched proceedings for +years and slowly qualified themselves for every department, came in +and broke up the one-man system--not before financially confusion was +becoming worse confounded. They trained their workmen, distributed +the work, kept proper accounts for the first time, and in a few +years built up what is, perhaps, when considered in all its branches, +the largest individual violin-dealing industry in the world. + +Mr Hill was a man of striking appearance: thin, spare, with light +hair, and moustache early gone grey; blue-grey eyes, very keen; a +thoughtful face, often lighted up with a whimsical smile--for the man +was full of humour, though mostly of a genial sort. + +He was very much more of an all-round man than people who merely +conversed with him on violins would suppose. Highly educated, in the +usual sense of the word, he was certainly not; but he had a great +acquaintance with human nature, and an extraordinary insight into +character. + +His sly remarks on men and their manners, including their morals, +were a perpetual feast to all who were admitted to his intimacy. In +his own special line he was without a rival. He did not always say +what he knew, but he never said what he did not know. + +He was frequently appealed to in doubtful cases, but was greatly +opposed to litigation, and it was difficult to extract from him any +opinion likely to lead to it. + +Once in the witness-box he was what the lawyers call a dangerous +customer. His manner was perfectly quiet, assured, and straightforward. +He was absolutely decided, and would never budge from his opinion, and +under pressure of cross-examination often raised a laugh at the expense +of counsel. + +His sons have treasured many of his wise and witty sayings. On one +occasion he refused to sell to a customer who already owed more than +he could pay. Hill remarked dryly when the gentleman had left the +shop, “That man’s complaint is wind in the pockets.” Of an amateur +who was proud of showing off his style on his fiddles, Hill, looking +up from his work, would say with a comical twinkle, “Hark, now, he’s +doing the lovely.” + +The manner was often worth more than the matter. + +His memory was as extraordinary as Tarisio’s. On one occasion a claim +was brought against a railway company for sixty pounds’ damage to the +belly of a violoncello. The company demanded a valuation, and damages +to be assessed by Hill. The claimant at last angrily submitted. +Hill reported on the instrument, which he repaired for about thirty +shillings. Five pounds he thought would be very liberal damages. The +owner was furious, and would not even accept fifteen guineas. Mr Hill +was at last called up, and made the following unpleasant statement: +“This instrument does not belong to this man at all. It is one of the +instruments belonging to her Majesty, and used by the members of the +private band.” The _soi-disant_ owner was perfectly dumbfounded, but +was obliged to confess that he had actually borrowed the instrument +when employed as deputy in the Queen’s Band several years before, and +had never restored it. Mr Hill had only seen it once before. + +A violin, said to be by F. Panormo, was sold as such by a dealer in +Pentonville Road. It came into Hill’s hands many years afterwards, +who was asked to take it in part payment for another violin. He said: +“This fiddle was not made by Panormo; it was made by my father about +the year 1812 for my brother Henry, and owing to the difficulty of +getting good foreign wood, my father made the back and ribs from +English maple. It could not possibly have a good tone, but I should +like to have it, and will allow £10 for it.” Mr Hill immediately +proceeded to remove the belly. On the inside was written in pencil, +“Made for my son Henry in the year 1812.” + +Mr Hill led an extremely abstemious life. His only relaxations were +reading and long walks on Sundays. Towards the close of his life he +found himself surrounded by his sons, superintending a large staff +of workmen, and his workshops at Hanwell, adjoining his country +home, are well known. For some years before he died the direction of +affairs had practically passed into the hands of his sons, whom he +had so admirably trained to succeed him, and to them is entirely due +the present great commercial prosperity of the firm. + +William Ebsworth Hill sank gradually from senile exhaustion of brain +power, and died in 1895, aged seventy-seven. + + + + +CHAPTER IX + +VIOLIN VARNISH + + +When a true chemist enters a laboratory fitted up with the usual +mysterious tubes, crucibles, “baths,” and general apparatus for +distillation, and his nose scents the aroma of gums, spirits, +essential oils, and what not, he experiences an atmospheric sensation +which enthuses him for his work. What the odour of stables is to the +lover of horses, or the smell of paint to the artist, that is the +laboratory aroma to the chemist. + +I have no insight into crucibles, and I don’t like smells. The +proportion of subtle weights and measures, avoirdupois or troy, are +beyond me; the disputations of science and the general incapacity +of scientists to agree about mixed problems puzzles and sometimes +“impatients” me, as the French say. + +In wading through various treatises on Cremona varnish I regret to +say I have experienced vague emotions of annoyance and perplexity +which I would fain conceal from the reader. I should like to pose as +the clear exponent of the famous Cremona secret, or hold some one +fixed opinion, buttressed by arguments weighty enough to confound all +opponents, and based upon the “triumphs of modern research.” The +triumph of modern research seems to me to consist in the discovery +that we have as yet failed to discover the Cremona varnish, as, +although we may speculate about it and at moments seem to come very +near the mark, as yet we cannot make the stuff, or, at all events, +apply it in Cremona fashion to our new fiddles. + +It may be consoling, but not very satisfactory, to reflect that no +one has mixed it or applied it in Cremona fashion since about 1750; +but that fact only serves to whet the curious appetite, and each +writer braces himself for renewed disquisitions, visits workshops, +and scrapes bits off Cremonas when he can, perhaps dabbles himself +with gums and alcohol, and pumps fiddle-makers with a view to +wringing the secret out of the Cremona sphynx. + +So entirely mixed is the whole subject that the violin world can’t +even decide in what the proper functions of the varnish consist. One +maintains that it is merely for the preservation of the wood, another +that it greatly affects the tone, and the third that it is chiefly +decorative. + +To me it seems almost a truism to say that the varnish is good for +all three purposes: that it preserves the wood is certain, though +exactly how is open to discussion; that it affects the tone is +equally certain, though exactly how is still a moot point; that it +is decorative is obvious, though taste in the colouring has varied +with each school of makers as much as some makers have varied with +themselves. + +For my part, after reading a dozen disquisitions on the Cremona +varnish, and inspecting hundreds of fiddles for a quarter of a +century, I applaud the courage and reticence of Mr George Hart, who, +in his valuable book on old violins, gives just five pages on Italian +varnish, with an intelligent description of its various appearances, +a brief quotation from the inimitable writer Charles Reade, and not a +single recipe. + +As I am not writing for violin-makers, but only for collectors, I +shall certainly not rush in where authorities like Mr Hart fear to +tread, and shall content myself with a few probable suppositions and +a few more generally descriptive remarks. + +Some authorities maintain that the wood should be first saturated +with oil before the colouring varnish is applied, a practice which +has a tendency to clog the pores, so that until some age has been +put on and the wood has become desiccated and shaken free from the +grosser oily particles, the vibrations are stifled and the tone +consequently dull. + +Others declare that the sizing of oil should not penetrate the wood +far, but leave it free to desiccate by itself, and merely act as a +sort of veneer for the colour varnish which has got to be spread +over the transparent oil covering. The wood, in fact, has to be +sized first and varnished afterwards. Taking this view, the process +would be something of this kind: The white belly is cut from fine +pine which has been six or seven years drying in the sun, but never +exposed to rain and waits patiently for its anointing. A stick of +that resinous gum beloved of artists, gamboge yellow, from Gamboga, +Siam, or China, is then powdered and dissolved in pure alcohol; sloes +are sometimes added, or when a yellow ground is not desired, sandarak +and the long resinous tears of benzoin are treated with pure alcohol. +When the back, belly, and ribs are thoroughly dry, the colouring, +like a flavouring to taste, is added. + +The chief colouring ingredients appear to be of two kinds of +sandal-wood, one yielding red orange tints, from Calcutta, and the +other a deeper red, from the Coromandel Coast. An alcoholic solution +of these is mixed with essential oil of turpentine, freely oxydised +(or exposed to the air) and laid on the perfectly dry surface in +successive layers, each layer being allowed to dry separately. + +The colour coating thus lies like an agate film over the oil +sizing, and through the top varnish as through coloured glass may +be seen--dyed orange, or red, or brown--all the delicate curls and +fibres of the wood, shown up as by a kind of Röntgen rays by the oil +size. + +We are told that the resins used may be divided into hard and soft, +and that of these the soft, such as mastic and dammar, are the best, +because the most elastic and friendly to the waves of vibration. The +mastic and dammar resins seem to unite, in the greatest perfection, +the three essential properties most suitable for varnish--elasticity, +solidity, and transparency. + +The Cremonese are said to have used nothing but the soft resins. The +much-talked-of, old-fashioned dragon’s blood, a resinous gum from +the Draconian Draco, does not seem now to be commonly forthcoming. +The Calami Draco of Borneo has taken its place. The old dragon’s +blood has been much talked about, and credited with giving a certain +splendid sanguineous flush to some of the rare Cremonese bellies upon +which the judicious amateur dotes. + +And now, what is amber varnish? The usual answer is, there is no such +thing. Certainly it was never used by Stradivari, for it is said +the secret of fusing that hard gum was only discovered by Martin +the chemist in 1737, the year of Stradivari’s death. On the other +hand, I hear that amber has been found in the varnish of Giuseppe +del Gesù--by what analysis I do not know. The usual way of rubbing a +violin and smelling the surface has always seemed to me to furnish a +most unreliable test. One saith, “I smell benzoin”; or another, “I +smell mastic”; and a third, “I smell amber”; and a fourth, “I smell +nought”; and this battle of olfactory organs is like to go on, as +saith the poet-- + + “As long as man has passions, + As long as life has woes”; + +or, as we may say-- + + “As long as man has nose.” + +So here I desire to take my leave of this thorny subject, and with +a sense of relief I abandon crucibles to the expert, and oils and +resins to the disputatious, merely reminding our collectors for +practical purpose that the Brescian varnish is soft and brown, +but without the magical Cremonese transparency; the Cremona is +amber-coloured (early) or (later) light red orange, and sometimes +velvety brown, and very soft and glossy as it rubs away. + +The Venetian varnish of many shades is very clear; the Stainer, +yellow-brown, with a subtle roseate flush at times; the normal +German, brown and muddy; the French, Cremonese in colour, but glassy +and chipping rather than soft and glossy. Some of the English varnish +is remarkable, that of Dodd even approximating closely to the Cremona +school, etc. + +On the whole, the best solution of the Cremona mystery seems to me +that it was probably no mystery at all, which also best accounts for +the disappearance of the varnish towards the middle of the eighteenth +century. It is absurd to suppose that the varnish used by at least +one hundred makers for more than one hundred years (for Italian +violins from 1550 to 1660 up to 1740 all have it) could have been a +secret; it was probably the ordinary varnish of commerce, superseded +by the quicker and more convenient spirit-varnishes which came in and +thrust it out of the market, and these ready-made compounds proved +excellent for furniture which is not prized for its resonant or +variously tinted qualities, but they unfortunately put out of court +the kind of varnish best suited for violins--the yielding, soft, +elastic oil varnish; and the very ingredients, _e.g._ dragon blood +(of the liliaceæ trees), ceased to be in demand, and consequently +disappeared from the Italian markets. + +The materials being now absent, the varnish was differently composed. +The trick of mixing it got lost along with the stuff to be mixed, and +the Cremonese secret, once an open secret, lapsed and lapsed, as it +seems, most irrecoverably. + +At one time every one knew how the ancient war-galleys were rowed; +how the Pyramids were built; how Stonehenge was poised; how the +Medicean poisons were distilled, and how the old masters mixed their +colours; now no one knows. + +Of the Cremona varnish it must be written, as we have to write of +these unexplained disappearances of the lost and missing-- + + “Gone, and made no sign.” + + + + +CHAPTER X + +VIOLIN STRINGS + + +“To scrape the inside of a cat with the outside of a horse” is far +from an accurate or exhaustive description of violin playing, nor can +I understand why violin strings are called cat-gut at all, since they +are made from the intestines of the sheep, goat, or lamb, and have +absolutely nothing to do with pussy. + +I can only suppose that the frightful and melancholy tones habitually +elicited by inexperienced players may have reminded people of the +nocturnal cat sufficiently to credit that maligned animal with +providing part of the mechanical apparatus for their production. + +Of late years a great deal has been said about the extreme importance +of the strings, of adapting the player to the fiddle’s constitution, +etc. I freely admit that some players with very strong hands, like +Lindley and Dragonetti, can manage thicker strings with effect +better than people with weaker muscles. I also admit generally that +it would be a mistake to string a sensitive old Nicolo Amati with +thick strings, which a robust Joseph or Bergonzi might be able to +bear; that a raw new fiddle to be rubbed down in the orchestra will +also take to thick strings; and that it is pretty obvious, as every +player knows, that one cannot stop fifths in good tune if the strings +are not relatively well proportioned. + +It is also a truism that it is best to buy the best strings, and +that false strings are abominable. But I do not go much beyond +this, and I would say about strings what I say about bows, that bad +workmen always complain of their tools, and that, as Paganini was +able--although as a mere trick--to discourse excellent music with +a tobacco-pipe or a reed, so his admirers were often surprised to +notice that he would go into the concert room with his strings very +much out of condition. + +Practically I do not suppose that one violinist in fifty uses a +string-gauge; he soon learns to judge sufficiently by the eye what +his fingers want, what his tone requires, and what his violin exacts. + +Still, in these days of analysis and detail, there being nothing left +untalked about, writers have fastened quite within the last thirty +years on the strings; but I have often noticed that players who fuss +most over these details, which are doubtless of importance, are those +who are least able to avail themselves of the perfect conditions +which they seek. Perfect gut, rosin by rule, and an exquisitely +poised bow, no more make a fiddler than scientific sanitation makes +a healthy subject. I cannot too persistently urge that the violinist +bends conditions to the magic of his will and his skill. + +His business is to qualify _himself_, and then get the best fiddle, +bow, and strings that he can. This ought he to do, and not to leave +the others undone. + +There is no reason to suppose that any advance in the manufacture +of gut-strings has been made since the seventeenth century. Even a +work by Le Roy, dated 1570, gives the best recipe yet known for the +detection of false strings. + +“It is needful,” he says, “to prove them between the hands in the +manner set forth in the figure” (which we reproduce); and he goes on +to explain what everybody now knows--that if two lines only appear, +the string is true; if more, false. But he fails to add that such a +rough test only holds good for the thinner and simpler woven cords. +In Doni’s book (1647) we find such subtleties as these: “There +are many particulars relating to the construction of instruments +which are unknown to modern artificers, as, namely, that the best +strings are made when the north (and the worst when the south) wind +blows”--a suggestive hint relating to the acknowledged importance of +atmospheric, perhaps magnetic, and at any rate climatic, conditions. + +How do we make our strings? + +Putting aside mature sheep and goats, we kill our young Italian lamb +in September. We open him at once, and take the intestine whilst +still warm; stretch it on an inclined plane; scrape it and clean it +thoroughly without delay. We then steep it for about fifteen hours +in cold water, with a little carbonate of soda, and then substitute +tepid water for a few hours more. + +Now we are ready to remove the fibrous or muscular membrane from +between the peritoneal and mucous membrane. This is done by women, +who scrape it with a cane. The precious selected membranes are +then soaked in jars containing an ammoniacal solution; they are +then rubbed through the fingers three times a day, treated with +permanganate of potash, cleaned, sorted, cut, and split; and, +finally, the threads are spun--three or four thin threads for first +violin strings, three or four thicknesses for the second, six or +seven for “D” string. Double-bass strings take up to eighty-five +threads. Further twistings, soakings, and polishings take place, into +which we need not enter, and the strings are finally dressed with +olive oil and then coiled. + +I have gone into these details to show with what care and complex +elaboration string manufacture is carried on. + +The false string is due to inequalities, lumps, and varieties of +texture in the gut; and if only the defective part can be distributed +either near the head or the tailpiece, outside the vibratory length, +your false string becomes true. This is why the experiment of +reversing the string, putting tail portion headwise or _vice versâ_, +will sometimes remedy the defect. + +For the fourth or silver string the gut or silk (which is used) +is wrapped with pure silver, or copper, or alternate silver and +copper wire. The beautiful French patent silver fourth, as smooth as +polished steel, is incomparably best for solo playing; it is also +thinner, in my opinion too much thinner, than the mixed silver and +copper fourths, which are very serviceable for rougher orchestral +work. + +The vice of silver strings is to rise (and of gut strings to fall) +with heat; but if your screws are in perfect order, and you are +expert enough, you will remedy either by a rapid subtle twist during +a bar’s rest, or a quick nipping the head of the peg between the +first and third joint of your left-hand forefinger. I have seen +Sarasate tune two pegs thus in the course of a very brief “tutti.” + +Mr Hart may be accepted as a final authority on the relative merits +and the different schools of violin strings at present in the market, +and his dicta substantially agree with my own experience. Of course +he gives the palm to the Italian strings, which is largely due to +the good climatic conditions, which enable their manufacture to be +carried on in the open air and sunlight of that favoured clime. + +In Rome strings are yellowish, hard, and brilliant, and a little +rough in finish. + +The Neapolitans are smooth, soft in texture, and whiter in appearance. + +The Paduans polished, durable, and frequently “false.” Strings “made +in Germany” (Saxony), as a set off against the swarms of trade German +fiddles, rank next to Italian. + +The French rank third. Their larger strings are better than their +seconds, which are often brittle; their patent first _accribelles_, +made of silk, are hard and brilliant, but not comparable, in my +opinion, to a fine Roman gut “E” string. + +The English make a good, serviceable, dull green looking string, +durable, uneven, and not unfrequently false. To my mind, English +strings are only fit for rank-and-file orchestral fiddling, but not +good enough for the loader. Mr Heron Allen, who has given great +attention to such details, says that the best strings in the market +are imported from Signor Andrew Ruffini of Naples, but I have always +had a weakness for Roman strings. + +Too great caution, however, cannot be used in buying strings. Never +buy from any but the best firms; they can’t afford to keep “job lots, +going vera chep”--these may be bought up by provincial houses and +retailed to an undiscerning public. + +Notice that small “job lot” people do not know how to keep their +strings--or, I should rather say, they keep them too long and too dry. + +It does not follow that even the best strings will turn out successes +if they have been kept too long or too dry. + +I once ordered £1 worth of Roman “E” strings for myself, and another +£1 worth for a friend. They all arrived as dry and brittle as mummy +wood; they all snapped as I put them on. In about a week I got a +furious letter from my unfortunate friend who had trusted me--all his +strings had snapped. + +I have but one counsel to give. Take the best firm’s advice and pay +the best firm’s price--if you can afford it. Always keep a couple +of tested, _i.e._ stretched “E” lengths in your case. If you are a +soloist this will save you some annoyance and delay should your “E” +string go in the middle of a performance. + +So far, then, and no further, need I discuss violin strings; but +there are two other violin adjuncts not important enough to call for +a separate chapter. I allude to the mute and the chin-rest. The mute +is occasionally fixed on the bridge to give the sound that singular +faint far-off twang like the whisper of a ghostly violin. The mute +has the singular property of making the violin abnormally sensitive +for the time. The mute is made of wood, metal, or vulcanite; +personally, I much prefer the metal mute--it does the business more +thoroughly. It is not a good practice to use the mute habitually +while practising to subdue the sound. The violin really resents the +use of the mute at all, but will put up with it for a short time +(just as a good horse will not resent a spur or a bearing-rein in +moderation). For a minute or two after the removal of the mute the +violin does not quite recover its tone; some of the particles in its +wood have been exposed to a different or eccentric vibration by the +dominating mute, and the full tonal vibration is not immediately +recoverable. It is as though you had put a man in boots with leaden +soles for a time, and then suddenly freed him; he would not at once +regain his full suppleness of movement. + +Quite within the last thirty years the cult of chin-rests has become +almost universal. When I was a boy people held the violin honestly +under their chins, and a few used a silk pocket handkerchief. I much +prefer it to this day; but something between the chin and the violin +is no doubt good for the protection of old instruments already too +much rubbed by centuries of beards and bristles. + +I have nothing to say against the various velvet, vulcanite, and +ebony fixed substitutes for the homely pocket-handkerchief, except +that in my eyes they are extremely ugly, and to my chin extremely +uncomfortable; but I may be very much out of date, and in such minor +matters “_chacun à son goût_,” or, as Pepys would say, “there’s an +end on’t.” + + + + +CHAPTER XI + +VIOLIN BOWS + + +He who wields the violin bow aright wields the wand of a magician. +If ever mortal could call the spirits from the vasty deep, it is +the virtuoso who throws into sympathetic vibrations the cords of a +Cremona. + +The wood of his wand, from the forests of Fernambuc or Pernambuco, +choice and seasoned, and delicately graduated and tapering, receives +through the varying pressure of his five fingers the waves of his +personal magnetism. + +The back of his thumb will often touch even the hairs which are +in direct contact with the strings, and therefore the psychic and +emotional vibrations of the artist’s soul are wedded closely to the +physical pulses of sound which throb in the agitated air column of +the Cremona, and flow forth in the air waves (like light and heat), +filling space with their musical magnetism, and seeking only the +medium of kindred spirits and suitable organisms to utter through +the vibrating human nerve tissues of others the open secrets of the +player’s soul. + +No Mesmer, or magician of the East, controls a more subtle force than +does the violinist, who, face to face with his audience, lifts his +tapering wand and rules therewith the + + “_Tides of music’s golden sea setting towards eternity._” + +By those who indite exhaustive historical or constructive treatises +on the violin--the bow, like the violin, has been treated +archæologically--we have been led up to ancient monuments and shown +bows (or things supposed to be bows) on vases, sculptured frescoes, +missals and other monkish manuscripts. We have been sent out to wild +islands and continents, and introduced to the Ravanastron bow of +ancient Ceylon; the bow of the Moorish rebab; the ninth, eleventh, +twelfth, and thirteenth century viol bows of Europe--all more or less +primitive, with sometimes gut for hair, or hair loose, hair limp, and +with no means of regulating its tension except by the introduction of +the fingers to press the hair or tighten it for a moment. + +In Paul Veronese’s Marriage at Cana (Versailles) this is well shown. +Paul himself was a viol player, and apparently held his bow chiefly +by the hair for this same regulative purpose. + +C. Simpson (the division “viol”), 1667, gives a somewhat more +advanced viol bow, in which the hand splits the difference between +wood and hair and rests on both (Fig. iii). Of course, when held to +the chin, this clumsy finger regulation of the hair tension would +be less convenient to manage, and hence we come upon the eighteenth +century with a strip of notched metal (Fig. iv.) and a movable +sliding nut. + +[Illustration: + + I + + Maggini Nic Amati Dolphin Strad Joseph Guarnerius + 1630 1641 1714 1734 + + II + + Corelli 1700 + Cramer 1770 + Viotti 1780 + Tartini 1740 + + III + + Finger control + 17th cent. + + IV + + Cremabliere control + 18th cent. + + V + + Screw control 19th cent.: + Paganini’s bow Tourte 29 inch ’34 + + VI + + 19th cent.: + Hair control. + head. handle. +] + +As for our purpose the violin proper began in the eighteenth century +with the emergence of its true type from the viol tribe, so for our +purpose the violin bow begins with the emergence of the violin. A +glance at the bows of Corelli (1700), Cramer (1770), Viotti (1780), +and Tartini (1740) (Fig. vi.) will show the evolution in the +direction of the Tourte bow; and although Tourte (1740) is generally +credited with substituting the screw for the crémaillère, it will be +noticed that Corelli’s bow (1700) has already got the screw. But is +the Corelli bow authentic, or in reality a bow subsequent to 1740, +the earliest working date of Tourte _père_? + +With François Tourte, the younger son, culminated the art of violin +bow making. He is the Stradivari of the bow. We give his portrait, +but father and son were both master-workers. Although the Stentor +(Fig. vi.) bow’s head has superseded, for some reason, the more +rounded form of François Tourte, nothing has been done since +in advance of Tourte, and “after Tourte” is still the greatest +recommendation a bow can have. + +It is easy to see what called forth François Tourte. He came in +answer to a need. He doubtless heard of Tartini and examined +his bow. It was comparatively short and cumbrous. Forty years +afterwards Viotti comes to Paris, and with him dawns a new era in +violin playing. Refinements and delicacies of tone, upper shifts +and varieties of execution, various styles of bowing, dealing with +staccato, arpeggio, and rubato, methods varied and brought to +perfection, demanded qualities of balance, lightness, and elasticity +which would have been quite thrown away on the old sawing and +scraping school of the seventeenth century. The very Cremona violins, +beginning to mature as the century waned, called aloud for a suitable +and sympathetic companion to caress, excite, charm, draw from them +their sweetest tones and most vigorous powers. + +François Tourte was rescued from the clock-making business, to which +he had been early apprenticed, by the sheer bent of his own genius. +His brother, who worked with his father, was not the genius, and, as +is often the case, the father failed to see which of the two sons was +to carry on the fame of the house, and there may have been jealousies +and disputes besides. The poor stuff given François to work upon +when, after eight years of watch-making, he was allowed to enter the +parental workshop a little, suggests that he was the male Cinderella +of the family. + +He had to deal with strips of old sugar-barrels and fashion them into +bows, which he sold for about fifteen-pence each. But as soon as he +got a free hand he experimented with all kinds of wood, and arrived +at the conclusion that the only wood suitable for his purpose was +Fernambuc wood. It combined stiffness and lightness, but was very +difficult to obtain, on account of so many ports being in those +disturbed times blockaded. Fernambuc wood was only imported for +dyeing purposes, and the price had risen in Paris to five francs +a pound. Then, as only pieces with straight grain were required, +whole trees might be cut up in search of a few likely strips. This +accounts for the high prices of Tourte bows, even when first produced. + +They were doubtless largely labours of love with this matchless +artificer, who could neither read nor write. The nut would be often +made of tortoise-shell, jewelled with mother-of-pearl, and gleaming +with a gold screw button. These cost £12, and would now fetch, if +ever they came into the open market, fancy prices. His bows, mounted +in silver with ebon nuts, sold for three guineas, and now fetch £30. + +Tourte _père_ originated the backward bend of the bow, which is not +cut but artificially bent by heat; but both the father’s and the +eldest son’s bows are held to be now too short for the strain of +execution put upon them by modern players--not so François Tourte’s, +and all bows made “after Tourte.” + +He fixed the proportions--length, between 29·134 inches and 29·528 +inches. The weight of the bend is nicely poised with the gold, +tortoise-shell, or ebon of the nut; in each is a small wedge, as may +be seen in Fig. viii., which nips the hairs and keeps them flat. The +fine selection of hairs, 150 to 200 (modern exigencies require more, +or up to 250), the careful flattening of it out, the preference for +live hair, or hair combed out and not taken from dead horses who +may have lain some time in the shambles; above all, the exquisitely +graduated thicknesses, now held to be _de rigueur_, all characterise +the intuitive genius of Tourte. + +I say advisedly “intuitive genius,” for Tourte had no education but +that of a watch-maker. This may, indeed, have given him his fine +sense of delicate and exact proportions, but it is still remarkable +that examinations of the diameter of Tourte bows in different places +give uniform results. The bows swell or taper in the same place, and +as the air columns in the violins of Strad give the same note, so do +the bows of Tourte yield the same proportions, which it has not been +found safe or expedient to depart from. + +Violin bows may be smaller or larger, _i.e._ shorter or longer, +as far as I can see, without any detriment to Tourte’s principle; +children, women, and exceptionally long armed men may have to +use them, but the proportions, the wood, the balance, even the +mechanique, must be left as Tourte left them--perfect. + +The one point in mechanique in which the invention of F. B. Vuillaume +may be thought to have improved upon Tourte is in his fixed nut for +viola, tenor, or violoncello bows. This consists of a metal nut, +which alone is moved by the screw up and down inside the main nut, +which remains rigid; thus the length of the hair exposed for playing +always remains the same. + +The only other original maker of the first rank and excellence, who +has been nicknamed the English Tourte, was John Dodd. He was born +in 1752, and lived chiefly at Kew, and there he was buried. He was +always out at elbows, even when his reputation was at its height. +Poor Dodd had his friends and admirers. He was his own worst enemy; +he was undersized in stature, and walked with a shuffling gait. He +wore his clothes until they were in rags, and a broad-brimmed hat +somehow gave him an additionally dilapidated air. + +I am afraid he drank, for although his habits were said to be +regular, the most regular of them all was his four daily visits to +the public-house, where he consumed what to less experienced topers +seemed an immoderate quantity of a drink called “pearl.” + +When the old fellow was known to be excessively hard up, kind Mr +Richard Platt, a musical professor of the town, and Dr Sellé, who +has given us some of the above details, came to the rescue. But the +bow-maker tired them all out, and ended at last in the Richmond +Workhouse. + +I will not say whether he can be exactly cited as a frightful example +of the degrading effects of liquor, for he died of bronchitis at the +altogether respectable age of eighty-four. + +Indeed, he had his qualities; no bribe or stress of want could make +him swerve from his sense of what was due to his art. + +His wood is as magnificent as his workmanship. He doubtless had his +secret, but it was possibly one that he could not impart. He would +take no apprentice, for fear he should learn the trick; and whether +he could or could not teach it, he refused £1000 offered him by some +one who wanted to learn it. Dodd’s bows are not very uncommon; he +died only in 1836, and, strange to say, these true musical wands do +not run into a five-pound note yet (1898). + +John Dodd the bow-maker must not be confounded with Thomas Dodd the +fiddle dealer and varnisher, who employed Fendt and Lott to make the +fiddles. John Dodd the bow-maker was the brother of Thomas Dodd. John +lived in Blue Bell Alley, Mint Street, Southwark, before he went to +Kew, but the rustic suburbs suited his habits, and as he had acquired +a European reputation before he died, it little mattered where he +lived. + +Vuillaume of Paris made excellent bows, and even founded a school of +bow-making. Many bows that don’t sell as his are stamped “d’après +Vuillaume,” “scuola de,” which is certainly more respectable than a +forged label to which violin dealers do so commonly resort. + +Vuillaume’s hollow steel bows have never “caught on,” though good +players have used them now and again. But then a good player can use +any bow, and whilst a good bow is a luxury, a real violinist will +be able to perform very respectably with a bad one. It is said that +Paganini on one occasion excited the wonder and enthusiasm of his +audience by performing on his instrument with a long churchwarden +clay pipe, and at another time with a rush! + +It would be unfair even in a sketch like this, which only professes +to seize the salient point of general interest to collectors and +amateurs, not to mention Jacques Lafleur (1760-1832), an admirable +imitator of Tourte. + +Lupôt, brother of the great violin-maker (1774-1837), was the first +to line with metal the groove in the underside of the nut, to +prevent wear and tear of the ebony or tortoise-shell. + +Domminique Peccate (1810-74) is also thought to have almost rivalled +Tourte. He was originally a barber, and transferred the delicacy of +hand required in tonsorial operations to the fine adjustments and +elegant tapering and octagonal proportions of violin bows. + +Peccate went to Vuillaume in 1826, stayed with him eleven years, +and then became foreman to François Lupôt. He ended his life at +Mirecourt, where he began it; latterly he worked entirely on his own +account. + +We have now among us one James Tubbs, whose bows are already known +throughout the world owing to their attractive appearance and good +balance. Time will alone decide Tubbs’ position in the scale of +bow-makers, for time alone will determine the question of “last,” +“warp,” and flexibility, and general endurance of efficiency. + +On rosin, about which pages have been unnecessarily written, I have +but one word to say--get it pure. You can do this by confining +yourself to the best shops, or those who deal with them. Go to Hill, +Chanot, Hart, Withers, and Vuillaume. + +Some ignorant people talk of rosin as “greasing the bow.” Smooth +horsehair or greased horsehair is, of course, useless. It is not +the absence but the presence of friction which sets the strings +in vibration; it is the surface of the horsehair, roughened by +infinitesimal particles of rosin, which prevents the horsehair +touching the string with a continuous pressure, so that it receives +in reality a succession of tiny shocks. This is what renders the +succession of vibrations so rapid as to sound continuous. + +Without rosin, the violin, in spite of strings and bow, and the art +of all Cremona, would be mute. + +To average rosiners let me give a word of advice, early given me by +my old master, Ouri, pupil of Frank Mori: “Don’t rub the horsehair +down smooth with long sweeps, but powder the rosin off into the hair +with quick rubs and a light hand; in this way you avoid rubbing the +oleaginous particles of the gum into stickiness.” + +I notice that the best players use plenty of rosin and never let the +bow get thirsty. I remember the matchless violinist Remenye taking +up my violin and bow and calling aloud for rosin. “Why, you have +no rosin on; you cannot expect the violin to speak without.” Yet I +thought my bow had plenty of rosin on, but it was not enough for +Remenye, who powdered it away in clouds. But please to remember that, +however thirsty the bow may be, the _violin_ does not require to +drink, and the habit of smothering and smearing its beautiful smooth +belly with thin glutinous dust is a most vile one, and worthy only of +third-rate second violins at fourth-rate music halls. These musical +galley-slaves may not have time to clean up; you of the Stradivari +and the Amati violins and the Tourte and the Dodd bows _ought_ to +have, or you are no fit guardian of such treasures. + + + + +CHAPTER XII + +VIOLIN TARISIO + + +This extraordinary man, originally an obscure Italian carpenter, +at once created and answered that demand for Italian violins which +followed both in England, and to a great extent in France, the rage +for the German, and especially German of the Stainer and Klotz +pattern. + +Luigi Tarisio, like W. Forster, eked out the scanty income which he +derived from making tables and benches for the peasants by playing +dance music on a very poor fiddle at village routs. + +He wandered from place to place, what time the vintages were being +gathered in, and the simple folk, who turned out in their Sunday +finery for a little relaxation and merriment, doubtless regaled +the Italian carpenter with open-hearted hospitality, whilst he, in +return, mended their benches and fiddled for them at the vineyard +cabarets. + +Our Charles Mathews has given in his delightful autobiography +interesting glimpses of that free, open-air, open-hearted life; +for he also, for a time, lived amongst these rustics of a favoured +clime, enjoying their simple pleasures, and contributing in his own +peculiar way, by his histrionic gifts and a somewhat free-handed +distribution of coin, to their revels and their needs. + +Luigi Tarisio soon began to be dominated by the spell of his violin; +he got to notice other violins, to repair them all in the way of +trade, to possess them, not always very honestly, pitting his own +growing knowledge of their merits against the ignorance or necessity +of their owners. Gradually Tarisio the carpenter and Tarisio the +fiddler seemed to be merged in Tarisio the cunning repairer and +Tarisio the still more knowing buyer. + +He bought chiefly by exchange, for money he had little or none; +but he began in the early years of this nineteenth century to lead +that nomad life--as it seemed to outsiders, the life of a common +pedlar--which enabled him to glide without suspicion into half the +sacristies and convents in Italy. + +Wherever he went, bag on shoulder, and basket of tools in hand, his +cry was not “knives to grind,” nor “shoes to mend,” but “violins to +repair.” + +He usually had with him a decoy violin or two, in the shape of +common fiddles in good playing order; and over a glass of lemonade +or a bottle of wine, in some local café or monasterial domicile of +priest or cathedral musician, the cunning Tarisio would view with +unaffected pity the miserable old battered Cremonas which were then +lurking in a thousand ecclesiastical nooks, split as with the “wolf,” +ill-adjusted, ill-strung, and generally out of sorts, and whipping +out his common fiddle in perfect order, would play a few notes +on each, so manifestly to the disadvantage of the Cremona that an +exchange was soon effected, and Tarisio would decamp with an Amati, +a Strad, a Joseph or Bergonzi treasure, which, after a little clever +mending, might be worth a fortune; and in this way he possessed +himself, often for a few francs, of instruments which now fetch over +£1000 in the open market--if ever they get there. + +Tarisio, with the infallible instinct of a born collector and +connoisseur, in a few years was able to gauge accurately the merits +of the different great Italian makers. He knew exactly where to rank +the Amatis, and how to separate the qualities of the great Nicolo +from those of Andrea; he understood the supreme excellence of Antonio +and the power of Giuseppe, and all other grades of merit of which +even the admirers of the Cremona school in England seemed entirely +ignorant of. All Amatis at that time were lumped together, and +Stradivari and Giuseppe Guarneri were hardly known at all. + +But Tarisio knew all this, and a good deal more, before he tossed his +heavy bag of old violins one day over his shoulder and set out, they +say, on foot, or anyhow else he could, for Paris; for what market +was there in Italy for such priceless Cremonas when their owners +were prepared to give them up for fiddles worth from five to twenty +shillings? + +But why did Tarisio go to Paris? He probably judged wisely that the +Stainer craze, and the huge crop of common violins then being made +in Germany, would have killed his market nearer home. Then he must +have heard when a boy how Napoleon I. had ransacked the art treasures +of Italy, and how, under the advice of the cultivated Marquis +d’Avèze, who had narrowly enough escaped the guillotine in 1793, the +great conqueror had inaugurated a high Art Exhibition for the people. + +The famous bronze-gilt horses from S. Marco, Venice, the Dying +Gladiator, the Apollo Belvedere, the Cupid and Psyche from Rome, and +Raffaello’s Transfiguration itself, had been carried in triumphant +procession through the streets of Paris, and installed in a vast hall +for the benefit and instruction of the people. Of course a rage for +everything Italian was the result, and the shrewd Tarisio may have +thought, why not a rage for old Italian fiddles? + +One day in the year 1827 there arrived at the shop of M. Aldric, +at that time a famous violin dealer in Paris, a travel-worn man in +ragged clothes, who had begged and fiddled his way for days and weeks +across country. He carried a huge dustman’s sack over his shoulder. +He seemed to M. Aldric a very poor sort of pedlar, grimy and unkempt +enough to claim kinship with the man who had “used somebody’s soap +sixteen years ago, since when he had used no other.” + +The fashionable violin dealer was at first inclined to show him the +door, but probably something in Tarisio’s independent manner betrayed +that indefinable quality we call character, and, more in amusement or +out of pity than with any serious intent to make a deal, M. Aldric +allowed the pedlar to empty his sack of fiddles on his counter. It +is easy to imagine his astonishment at what he saw; but he seems to +have kept up his indifferent manner, not supposing the poor creature +before him could be in the least aware of the treasures he sought to +dispose of. + +M. Aldric was soon undeceived. + +He quickly found the tables turned upon him. + +The clever French tradesman was conversing with the greatest +violin connoisseur that the world has ever seen, or in all +human probability ever will see, for no one can ever again have +Tarisio’s opportunities, even should he unite in himself Tarisio’s +extraordinary qualities. + +Now, the pedlar, with all his enthusiasm and self-sacrifice, was a +man of exceeding cunning, and had that tact, quickness, affability, +and bonhomie which is well known to tourists in Italy, and has often +proved so fatal to the amateur of old laces, pottery, and objects de +vertu, or to such as may have tried to do a little fancy collecting +as they passed through the Italian towns, and haggled over bargains +in small curiosity-shops and market-places. So, with due astuteness, +the shrewd carpenter had not brought his _best_ wares on this his +first visit; he had come on a voyage of discovery, and only produced +a small pattern Nicolo Amati, and half a dozen Maggini, Ruggerii, +and such-like. He had with him no Strad, no Joseph, not even a grand +pattern Nicolo, but he had brought enough. + +M. Aldric, concealing his emotion, and fervently hoping the shabby +man did not know the value of his wares, offered him a small sum for +the lot, which Tarisio refused, doubtless with those picturesque +invocations of horror to the Virgin and all the Saints which seem +necessary to the Italian who attempts to convey to a “screw” the +mingled indignation and pity excited in his generous and artistic +breast by a mean offer. + +Tarisio was certainly disappointed; but he forgot that he himself had +to _create_ the market; and so at last he left, with his empty bag +indeed, but with his ragged pockets far from full. + +Back to Italy, back to his monasteries and cabarets, a little +dazzled; but, with unabated energy, he recommenced his search. + +He was now beginning to be known far and wide as a clever repairer +and a convenient dealer. As his stock of good, bad, and indifferent +fiddles increased he could offer a greater selection, and readily +parted with the worst ones, nicely done up, to his ignorant and +confiding but not over-wealthy Italian patrons. + +When next he journeyed to Paris he met with a different reception. +Vuillaume, Thibaut, and Chanot the elder opened their privileged +doors to him, and especially Vuillaume had the acumen to see that +in Tarisio he had lighted upon what gold-diggers call a veritable +“pocket,” and gave him higher and higher prices for the harvest of +Amatis, Strads, Guarneri, and Bergonzis which now flowed steadily +into Paris through this odd medium. + +Tarisio was far more than a connoisseur and dealer; he was a +singular and most whole-hearted enthusiast. As the novelist Charles +Reade (who was himself a great fiddle dealer and knew Tarisio) has +well said, “The man’s whole soul was in his fiddles. He was a great +dealer, but a greater amateur. He had gems by him which no money +would buy from him.” Mr Reade then goes on to relate how once, when a +splendid equipage rolled by him in Paris, the carpenter remarked, “He +would sooner possess one Strad than twenty such carriages.” He would +stalk the back or the belly of a valuable fiddle until he recovered +the whole, just as the Roman antiquary stalked the fragments of the +Hercules Farnese, finding the trunk in one place and the head in a +ditch miles away. + +Chanot had stumbled upon the cracked belly of a Strad violin in +Spain. Ortega, the fiddle-maker, had sold the remainder, ribs and +back, to a Spanish lady, fitting them nicely with a brand-new back +made by himself! The precious belly caught Tarisio’s eye in the shop +window, and he at last worried Chanot into parting with it for 1000 +francs. Off went Tarisio to Madrid, extracted from the bewildered +Ortega, who had sold the patched Strad, the required information, +interviewed the donna who possessed the patched Strad, and who, +after the fashion of the high-born Spaniard, at once said, “Sir, the +instrument is at your disposition,” which only meant that she would +part with it for a consideration, or what she considered to be the +good round sum of 4000 francs. This was a mere bagatelle for such a +treasure, which, refitted with its own belly by Vuillaume, is now +known as the Spanish Bass. + +It was sold for £800, and exhibited in the south Kensington +Collection of 1872 (No. 188). + +On one occasion, says Charles Reade, Tarisio was crossing the Bay of +Biscay with his famous Spanish Bass. The ship rolled; Tarisio clasped +his treasure tightly and trembled. It was a terrible gale, and for +one whole day they were in real danger. “Tarisio spoke of it to me,” +continues his friend, “with a shudder. ‘Ah! my poor Mr Reade,’ he +exclaimed, ‘the Bass of Spain was all but lost!’” As to Tarisio also +being lost, that did not seem to matter so much! + +It is not too much to say that, with hardly a memorable exception, +all the great Cremonese and Brescian fiddles, which now command such +_prix fous_, have passed through the cunning hands of Luigi Tarisio +the pedlar, and most of them have at one time been benefited by the +tender and artistic skill of Vuillaume, his great patron. + +When Tarisio, who by this time wore a decent coat, and no longer +carried Cremonas in a sack on his back, visited England in 1851, +he was received by the whole trade as a person of rare quality, as +indeed he was. + +Mr John Hart took him to see Mr Goding’s unique collection. As +one by one the owner took his treasures out of a glass cabinet, +before ever he had got within two paces of Tarisio, he was amazed +at hearing their names called out. A glance was sufficient. Tarisio +had had them all through his hands--the “King” Guarnerius, Lafont’s +Guarnerius, the matchless Bergonzi, the Marquis de la Rosa’s +Amati, Ole Bull’s Guarnerius, the famous Serafino ’cello, called +the Beauty--all of which might never have reached Mr Goding had it +not been for the enterprise and indomitable energy of the Italian +carpenter who now stood before him. + +Barring a narrow circle of dealers, it may seem strange that so +remarkable a man should not have been more widely known and esteemed +during his lifetime; but we can well understand that the restricted +circle of dealers amongst whom he moved, did not find it to their +interest to place their special Cremona “pocket” within reach of the +wealthy amateurs out of whom they themselves were busy making their +market. + +Tarisio, had he been dealer first and enthusiast second, might have +done better financially; but he did not do badly, and he wanted +little except the privilege of handling Cremonas to the end of his +life and dying in their good company. + +He did both. Although there was a strain of geniality about +Tarisio, he never seemed to unbend except in the company of +fellow-enthusiasts; and as he was too cautious to give himself +away to Italians, from whom he was gradually securing the spoils +which built up his fortune, fame, and immortality, the only people +who really knew Tarisio were the few foreigners like Vuillaume, +the Chanots in France, John Hart the dealer and Charles Reade the +novelist in England. + +In his own land he remained to the end nothing but the quiet, +unobtrusive repairer and occasional dealer in dilapidated fiddles. + +It seems he had removed to Milan, where he was quite safely hidden, +along with his fiddles, up in an attic at the top of a second-class +restaurant in the Via Legnano Porta Tegnaglia. + +No one was ever allowed to enter his room. He locked himself in, and +he locked himself out. They saw him going up and down the staircase, +and that is all they saw of him. + +One day in 1854 Tarisio dragged himself up those stairs for the +last time. Whether he had any premonition of his end, none may +know--certainly no one was with him when he died--only it was noticed +that he locked himself in, but came out no more; nor had he gone down +to the restaurant for any of the necessaries of life. + +At last the neighbours thought it time to ascertain what was taking +place in that mysterious attic. They seemed to have watched his +strange movements closely, but their efforts to find out who he was +and how he lived had been hitherto fruitless, as he made a point of +carrying on his particular and nomadic business at a distance from +his abode. They were not going to be baulked any longer, so they +knocked, but there was no answer. + +At last they broke open the door, and a strange and piteous sight +burst upon them. There, on a squalid couch, lay the pedlar, quite +dead. + +Around him all seemed chaos--piles of fiddle-boxes, fiddles in and +out of cases, tenors, ’cellos, violins in pieces and violins whole. +Half a dozen Strads there; a Gasparo (afterwards Mr Bennett’s), a +Ruggieri (Mr T. R. Bradson’s); about a hundred Italian fiddles, by +different makers. + +Here, too, was found the “Messie” or “Messiah.” + +These trophies created little enthusiasm at the time, but to the joy +of the relatives, two nephews, who had been hunted up with difficulty +by the municipal authorities, a sealed packet was found containing +valuable securities and a considerable amount of gold. + +The rest is matter of common history. + +The instant his friend and patron Vuillaume heard of the magician’s +death he hurried to Milan, and visited the nephews at their farmhouse. + +“Where are the fiddles?” + +“At Milan; but we have six here.” + +On the spot Vuillaume opened the cases. The first contained a +splendid Strad, the second a Joseph del Gesù, the third a Carlo +Bergonzi, the fourth and fifth two Guadagninis, and the last the +famous Messiah, preserved by Count Cozio de Salabue, intact until +1824, when it was bought by Tarisio. + +Vuillaume came to terms with the nephews for these six, and then lost +not a moment in visiting the famous attic at Milan, where he found +246 more, which he bought at once for £3166, leaving the astonished +heirs no doubt laughing in their sleeves, under the impression that +the _gobe-mouche_ of a Frenchman had been nicely hi-diddle-diddled by +the wily Italians. + +When we remember that a couple only of these gems would realise now +more than the sum Vuillaume paid for the lot, we may well remember +the proverb, “He laughs best who laughs last.” + + +A VIGNETTE OF PAGANINI. + +I have advisedly steered clear in this collector’s volume of +violin-players and violin-music, excepting in so far as they acted +or reacted in any way upon the violin and its progress towards +perfection. From this point of view, the growth of music appears to +be responsible for the definition and survival (as the fittest) of +the violin, violoncello, and double bass; and virtuosity is certainly +responsible for the lengthening of the violin-neck and finger-board, +the strengthening of the sound-bar to resist an increased +string-tension, and the lengthening of the bow. But virtuosity can +claim nothing more than these trifling details. The Strad pattern +of 1684 to 1700 has remained completely unaffected by the feats, +vagaries, or demands of soloists. + +In this the grand pattern violin stands out in sharp and singular +contrast to the old grand pianoforte. The imperious demands of Liszt +and Thalberg, Rubinstein and his followers, have compelled a series +of improvements in strength, sonority, delicate mechanism, and +sensibility, undreamed of by the old firms, and only perfected by the +later Erards, Broadwoods, Collards, and Steinways. But not a single +substantial improvement has been made in the violin since the last +one left the hand of the great Antonio at Cremona, and not even a +trifling modification of any sort has been adopted or applied to the +grand violin of the golden period for at least a century. The excuse +then for introducing the name and portrait of Paganini into this +book is not because he reacted in the least degree upon the art of +violin-making, but because he accepted it as an absolutely finished +art, and asked for nothing which he found not in Strad and Joseph. + +[Illustration: NICOLO PAGANINI] + +Now this is important and interesting, because Paganini was the +greatest of all players in this culminating century of the musical +art--a man admittedly unsurpassed in the opinion of violin experts +like John Ella, Cipriani Potter, Onry, and others, who, for forty +years after his death, listened to all the phenomenal violinists of +an age which boasts of Ernst, Joachim, Wieinawski, and Sarasate and +Ysaye. As it has not been possible to produce the face and figure of +any of these great old makers, with the one exception of Lupôt, who +belongs at best to the silver age, I have thought it worth while to +glorify their work by reproducing the grand though eccentric face +and figure of the one man who has invested their _chef-d’œuvres_ +with that romantic glamour, that almost unearthly prestige which the +violin alone amongst instruments can lay claim to. + +Paganini’s favourite violin, a Joseph Guarnerius, lies in its case +under glass to this hour, open for all eyes to inspect, in the Town +Hall at Genoa, his native town, to which he has bequeathed it. His +dying directions, that no one should ever play upon it, recall +Shakespeare’s curse upon those who should move his bones. The great +musician’s orders have not been quite so scrupulously observed as +those of the immortal bard of Avon. In “My Musical Life” will be +found my “Homage à Paganini,” together with a woodcut of Danton’s +very fine bust, given to me by John Ella, who played in the orchestra +among the violins when first Paganini visited England. + +Nothing is so ephemeral as the fame of an orator, actor, or musician, +unless they leave books or music behind them. Henceforth the +phonograph may do something to give future generations some idea of +the fascination which lived and died with them; but no phonograph +will ever give us even a faint echo of Siddons’ declamation or +Paganini’s playing; these are alike buried with the generation which +they charmed and electrified. But in Leigh Hunt’s description of +Paganini’s performance we have something like a pictorial phonograph, +if I may hazard the hibernianism, of the “Pale Musician’s” mighty +personality and power. Somewhere between the forties and fifties, +I remember, as a very young boy, standing awestruck before a thin, +gaunt, dislocated wax effigy of Paganini in an ill-fitting dresscoat, +with wild dreamy eyes and arm uplifted high--just as Leigh Hunt +describes him--before his bow came down like a crash of thunder on +the strings; but let the lively and graphic essayist who heard him, +speak for himself:-- + +“Paganini, the first time I saw and heard him, and the first time +he struck a note, seemed literally to strike it, to give it a blow. +The house was so crammed that, being among the squeezers in the +standing-room at the side of the pit, I happened to catch the first +glance of his face, through the arm akimbo of a man who was perched +up before me, which made a kind of frame for it; and there, on +the stage in that frame, as through a perspective glass, were the +face bent and the raised hand of the wonderful musician, with the +instrument at his chin, just going to commence, and looking exactly +as I described him-- + + --‘His hand, + Loading the air with dumb expectancy, + Suspending ere it fell a nation’s breath, + He smote, and clinging to the serious chords, + With godlike ravishment drew forth a breath + So deep, so strong, so fervid thick with love, + Blissful yet laden as with twenty prayers, + That Juno yearned with no diviner soul + To the first burthen of the lips of Jove. + Th’ exceeding mystery of the loveliness + Sadden’d delight, and with his mournful look + Dreary and gaunt, hanging his pallid face + ’Twixt his dark flowing locks, he almost seem’d + Too feeble, or to melancholy eyes + One that has parted with his soul for pride + And in the sable secret lived forlorn.’ + +To show the depth and identicalness of the impression which he made +upon everybody, foreign or native, an Italian, who stood near me, +said to himself after a sigh, ‘_O Dio!_’ and this had not been said +long when another person in the same manner exclaimed, ‘_O Christ!_’ +Musicians pressed forward from behind the scenes to get as close to +him as possible, and they could not sleep at night for thinking of +him.” + + + + +CHAPTER XIII + +VIOLINS AT MIRECOURT, MITTENWALD, AND MARKNEUKIRCHEN + + +MIRECOURT + +Mirecourt in Lorraine has the glory of being associated from so early +a date as 1566 with the Cremona workshops. + +Andrew Amati, who made six small fiddles for Charles IX. about that +time, employed Nicolas Renauld of Nancy, who was a pupil of the +celebrated Mirecourt lutist Tywersus, to assist him in finishing +these important court orders, which did so much to establish the +supremacy of the “petit violon” over the crowd of competing viols +which then held the popular ear, and, as we have seen, died very hard. + +The great princes of Lorraine occupied a castle of pleasure called +Ravenel, at a short distance from Mirecourt. + +These accomplished noblemen, touched with Florentine culture, often +made excursions into Lombardy, and delighted in the refinements of +the Italian princedoms and duchies. + +They brought back with them pictures, ironwork, laces, musical +instruments. + +Tywersus, their private lute-maker, was deeply influenced by the +work and models of the early Amatis, and from the school of Tywersus +came Nicolas Renauld, Jean Medard, and Nicolas Medard. When Amati +left Paris, whither he had gone to present his violins in person to +Charles IX., he left behind him Nicolas Renauld, who slipped into +the lucrative post of luthier to his French Majesty, and we find his +friend and co-worker Medard installed in the same fat office under +the Grand Monarque, Louis XIV., who, with his expensive mistresses, +certainly spared no money or patronage to secure those who could +in any way minister to the extravagant court pomp and artistic +amusements of the Pompadour and the Petit Trianon. + +Meanwhile Mirecourt, in the heart of the Vosges mountains, with easy +access to the grand timbers of their ancient forests, within beck +and call of Lombardy, and in close touch with the great Italian +fiddle-makers, Mirecourt long held supremacy as one of, if not the +most important mart of fiddle manufacture. + +It shared with Mittenwald and Markneukirchen the honour of supplying +that rapidly growing violin market which was now springing up, and +whilst Cremona made largely for home consumption and a few foreign +courts, Mirecourt undertook the more modest but equally useful duty +of multiplying Cremona school violins, which circulated far and wide +throughout the French provinces, and frequently reached our own +shores; indeed the fiddles often passed for Cremonas. + +The popularity of these Cremona replicas brought on that inevitable +deterioration in quality which always follows over-rapid production +and cheap wares, and at one time Mirecourt, in spite of its elaborate +industry, was fast becoming a byword for bad fiddles. Happily the +danger was seen and speedily checked, and Mirecourt now stands out +as perhaps the greatest and most excellent emporium of modern violin +manufacture. + +All who wish to know what can be known, go to Mirecourt, just as +people who study art go to Rome and Florence, or people who study the +fashions go to Paris. + +To Mirecourt we owe Rambaux, who was born there in 1802 and died +there only in 1870. + +Francis and George Chanot both came from there. + +The Lupôt family are claimed as natives of Mirecourt, although the +greatest of them, Nicolas, whose violins run some of the finest +specimens of Cremona very hard, was a native of Stuttgard. His father +was a Frenchman, and came from Mirecourt. All his traditions belong +to Mirecourt, and these, as we all know, he carried with him to +Paris, where he died in 1824, and was succeeded by Gand. + +The names of Maucotel, Medard, Menegand, Silvestre, and Deragay, and +above all Vuillaume, must always shed an imperishable lustre upon the +little town in the Vosges mountains. + +Every one of the Vuillaumes, eight in number, including the immortal +Jean Baptiste, were born at Mirecourt. Two settled at Brussels, three +at Paris, but all the others lived and died at Mirecourt. + +William Ebsworth Hill was careful to send his sons to this +celebrated school of violin art, and we may be sure that they did +not come away until they had possessed themselves of everything that +Mirecourt had to teach the violin maker or the connoisseur. + +M. Thibouville Lamy of Mirecourt, who has trade branches in Paris and +London, manufactures a violin at about 3s. 10d. cost price, selling +at about 4s. 6d.; but Markneukirchen probably leads in cheapness and +quantity, if not quality, turning out quite playable fiddles for the +modest figure of £1 to £2, 10s. + +The best Mirecourt fiddles will fetch from £6 to £10. + +The Grand and Bemardel prices range from £16 to £20. + +The ever-increasing demands for “trade fiddles” of all kinds, as +distinguished from the solo violins reserved for the use of virtuosi, +has called forth an abundance of fair makers beyond the limits of +Mirecourt, Mittenwald, and Markneukirchen. + +In England it is enough to mention such names as Hill & Sons; +Duncan of Glasgow; the Chanots, London and Manchester; the late +Furber, London; in Paris, Bernardel, Silvestre, Germain, Audinot, +and Chardon; in Vienna, Zach, Bittner, Lembök, Voigt, Guttermann, +Rampfler; in Munich, Sprenger; in Frankfort-on-Maine, Lenk; in +Breslau, Liebich; in Brussels, Darche; in Lille, Hel; in Milan, +Marchetti; in Turin, Bros. Guadagnini; in Cremona, Ceruti; and for +further general information the reader may consult the tolerably +exhaustive catalogue index of makers at the end of this volume, +for the bulk of which I am indebted to the studious and admirable +labours of Miss Stainer. Her booklet is entitled “Violin Makers,” and +it forms one of the music primers of an educational series issued by +Novello & Co. + + +MITTENWALD. + +In old days Mittenwald, quaintest of Bavarian towns, with its +frescoed houses and its picturesque river-side, for it is on the +banks of the dear Isar, overshadowed by the Wetterstein and Kurwändel +mountains, was a town of considerable importance from very early days +as the halting-place for the Romans on their way to the Danube. + +It long retained its peculiar caravanserai character, which resulted +in the establishment of the handy mart or Mittenwald fair, for which +in more recent times the place was chiefly famous. After the removal +of the fair to Bozen, the importance of Mittenwald began to decline; +trade and commerce suddenly seemed to have made unto themselves +wings, until one Matthias Klotz, who in his boyhood is said to have +been apprenticed to no less a person than the great Nicolas Amati, +settled at Mittenwald, and wrote up outside his house: “Matthias +Klotz, Geigen Macher, im jahr 1684.” The prime hazel and maple, to +be found in the Wetterstein hills, is of splendid quality, and the +woods, then close up to the town, were full of old trees. + +Thither, before the days of Matthias, was wont to come a dreamy, +ill-regulated sort of person, who excited the curiosity, and perhaps +ridicule, of the villagers by tapping their trees with a hammer and +then putting his ear close to the wood to hear the sound. + +They thought he was mad, and he did go mad from worry and want, but +the sanest thing he ever did was to tap those trees and listen to the +sound. + +His name was Jacob Stainer. + +Matthias Klotz was only nineteen when he came to Mittenwald, but by +this time the Mittenwalders, who had heard how the eccentric tramp +with the hammer had gone back to Absam and made the place famous by +his fiddles, were prepared to receive the young workman with favour +and hospitality, for they hoped he might do something of the kind for +Mittenwald. + +They were not mistaken. One year before Klotz arrived at Mittenwald, +Stainer had died incoherent and insane at Absam, and now that the +greatest of German makers was dead, Mittenwald was soon destined to +become noted in its turn for its fiddles. + +It is generally affirmed that Klotz was a pupil of Stainer. Certainly +his relations with Nicolas Amati are not very well defined. The +probabilities are that he was a pupil of both--in the sense of being +familiar with their work. The fact that his violins are sometimes +mistaken for Stainer, points to the strong Absam influence which +was upon him--it could hardly be otherwise--whilst the tendency +noticeable in the fiddles of his son Sebastian, who certainly did +visit Cremona, to bring down the model flatter than was fashionable +at this time, indicates that the firm at all events reflected the +later Amati model of Nicolas, who died the very year Klotz came to +Mittenwald. + +Had Matthias or Sebastian Klotz attended to the methods either of +Stainer or Amati more carefully, they would have observed that wood +cut in spring with the sap in it was not calculated to last like +the drier autumn timber. Whether from haste or ignorance, the Klotz +wood, especially that used by Matthias and Sebastian, is sometimes +found to be worm-eaten, but Sebastian’s fiddles are much esteemed. +His brothers, George and Egidius, and his nephew, Joseph, son of +Egidius, all made fiddles of the same type--varnish running from +yellow to brown, and laid on rather more lavishly than was the habit +of Matthias, founder of the firm. + +The Mittenwald industry, although now less prolific than that of +Markneukirchen, preceded it in point of time, and undoubtedly it was +through Bavarian Mittenwald that the Cremona influence reached Saxony. + +Master Reiter, whose teacher was Johan Vauchel of Wurzburg, is now +the most prominent Mittenwald maker, and Herr Neuner, who was a pupil +of Vuillaume, directs the school and factory. The school instructs +about twenty boys, and is under Government. + +Out of eighteen hundred Mittenwalders, three hundred are +fiddle-makers. + +The place provides from fifteen to twenty thousand instruments per +annum, including zithers and guitars. I will not say that Herr +Reiter, who is an artist versed in the old secrets and the old +enthusiasms, is personally responsible for the “trade fiddles” that +annually pour from the Mittenwald workshops. He himself has made +comparatively few fiddles, but he supervises them all, and remarked +to a visitor the other day, “I, Master Reiter, never let one go out +of my hands that has not been thoroughly tested, and I have sent out +into the world, to Russia, to America, Athens, and where not, some +two hundred violins and twenty-five ’cellos, besides having repaired +some four hundred others.” + + +MARKNEUKIRCHEN. + +Quiet resting-places, secluded valleys of the Tyrol, mountains of +Saxony!--Mittenwald, Markneukirchen, Mirecourt; sleepy Italian +towns!--Brescia, Cremona, once provincial villages like Mirecourt, +far from the stir of mighty cities!--such retreats seem to have been +ever favourable to the development of violin manufacture. Something, +too, of simple and almost _naïve_ religious sentiment has entered +into the production of the earlier violins, most of which were, after +all, chiefly intended for the sanctuary, Catholic or Protestant. + +The arts and craftsbook of the Worshipful Guild of Violin-makers +of Markneukirchen, 1677 to 1772, has lately been unearthed and +translated by the many-sided and indefatigable Heron Allen, and it +throws a kind of sudden flashlight upon the origin of an industrial +centre which has since become one of the most famous emporiums of +violins “made in Germany.” + +Here we read how a mere handful of masters and workmen went out from +kith and kin into a wilderness--some would say a paradise--for the +sake of worshipping God in their own way--that is to say, the new +reformed Lutheran way. They settled, to the number of sixty-six, +about the year 1627, at the retired and mountainous village of +Markneukirchen. The old book which records their uneventful annals +begins characteristically enough with, “In the name of the Holy +Trinity, Amen”; and then follow the names of twelve families, the +principals being Reicher, Hans George, Polles, Gaspar, Schönfeldes, +and Gaspar Hopf; and from this modest nucleus, emigrants, chiefly +from Graslitz, grew the famous Guild, which by-and-by was responsible +for scattering abroad violins innumerable, labelled with every known +name, and of quality good, bad, and indifferent; for it is a notable +peculiarity of the Markneukirchen makers that, whilst they were +compelled by the rules of the Guild to produce diploma instruments +and others of recognised quality, the cost of production has got +down as low as about four shillings, and a very playable instrument, +labelled Stradivari, is actually sold for a sum not much above that +astonishing cost price. + +Many of these workers were all-round men, and did not confine +themselves to fiddle-making. Thus, Carl Frederick Jacob was +carpenter, locksmith, and general instrument maker; one Andrea +Gher, 1587, was a schoolmaster; whilst Gasper Reichel was a barber. +Gottfried Pitz was admitted to the Guild on easy terms, because he +had served his country as a cavalry soldier. + +The master-workers were mostly people of some substance. They had to +pay a tax of one florin on being admitted to mastership; but sons of +a master were admitted on a reduced fee of five florins. + +Most of the masters were expected to have a decent house, with a +room large enough to entertain the Guild with their wives at a +banquet on their installation. As this cost some money--there were +various ways of lightening the burden when the candidate happened +to be a desirable addition to the Guild--he was allowed to pay in +instalments, or part was remitted by favour. A popular means of +effecting economy was to _propose_ to marry the daughter of a master; +that at least staved off payment. The apprentices often got in cheap +that way. + +Hans Adam Narlitzer, who “intended” to marry a master’s daughter, was +admitted on reduced terms, on the understanding that, if the match +did not come off, he was to pay up in full. + +One Kretchman also “intended” to marry the youngest daughter of Hans +Martin Schönfeldes; also Johann Christian Envel, in 1761, had “half +a mind” to marry the youngest daughter of Reichel, and was admitted +for ten thalers; but in case he could not make up his mind to marry +the girl, _or any other master’s daughter_, he would have to pay +thirty-one thalers. In no case is it _recorded_ that any of these +gentlemen failed to marry as per contract; the masters’ daughters +probably took very good care of that, or would have sufficient +influence to suppress the fact of their rejection. + +With the spread of the Reformed opinions, there at first arose +a certain demand for violins in the new churches; but the rigid +Lutherans soon smelled the odour of abuse and reversion to Romanism, +and discouraged any approach to ornate services, or an over-supply +of instrumental accompaniment. A decree that the violins used in +Church should be reduced in numbers naturally spread consternation +throughout the little country town; but the growing demand for +stringed instruments of good quality for secular bands soon +counteracted the effect of sectarian bigotry and clerical parsimony; +and when one Joseph Haydn, bandmaster to Prince Esterhazy in Vienna, +practically founded the modern orchestra with its symphony, and +created the modern oratorio and quartet, the demand for violins +and basses led to a prodigious development of the Markneukirchen +industry; and as the masters not only had ready access to the best +Cremonese models, but were surrounded by some of the finest maple +timber in the world, felled in forests full of seasoned trees +hundreds of years old, the fame of the Markneukirchen makers soon +spread throughout Europe. + +At Mittenwald a similar community flourished, and the crop of German +instruments made, and still made, by these enterprising artificers +have flooded all the orchestras of the world, providing them with +samples of every maker, from Gaspar and Maggini to Stradivari, +the Guarneri, Bergonzi, and Guadagnini. The Mittenwald makers owed +their inspiration chiefly to Egidius Klotz, pupil of the great +Stainer. They were as famous for their fine hazel-fir timber as the +Markneukircheners were for their maple; it was also through the +Mittenwalders that the Cremona methods filtered readily into the more +northern region--Markneukirchen, Prague, Nuremburg, Wurzburg, and +Franken. + +The increased demand for instruments resulted necessarily in a +tendency to deterioration, which did not escape the attention of the +Guild, and rigid rules were drawn up, called “Beneficent Mandates for +the Suppression of Abuses.” + +Every master had to prove himself equal to producing one masterpiece +as a sample of his skill, though it was freely admitted that a cheap +demand involved a cheap type of instrument, which could not be +expected to rival the diploma standard of tone and finish. + +The quaint record of the Markneukirchen arts and craftsbook ends with +the year 1772, and with the words “_Deo Gloria_.” Since that date the +names of Reichel, Schuster, and Paulus have all been _en evidence_ +at various European Exhibitions as medallists and exhibitors of +distinction; but, after a great fire in 1840, a good many families +left the town, and thus the old centre became like a flower that had +overblown itself, and began to obey the inevitable law by which a +mature centre distributes itself gradually, losing as it were its own +central wealth in its circumference, as the seeds of the dandelion +get blown abroad over all lands. + + + + +CHAPTER XIV + +VIOLIN TREATMENT + + +The notion that the more a fiddle is knocked about the better it is, +is similar to the theory that the more you knock about a horse the +better he goes. + +A good horse will take a great deal of spoiling, and so will a good +fiddle. Your well-bred beast, even when broken down, if you turn him +out to grass and attend to his ailments, will recover marvellously, +and so will a violin, if you glue him up, readjust his nervous +system, keep him dry, and coax him a bit. + +The delusion that a fiddle is all the better for being maltreated +is due to this:--Many people observe that their old, battered, +disorganised fiddles, which went into the skilful repairer’s hands +sounding like tin kettles, come out with the true Cremona timbre; but +that, my deluded friend, is not in consequence, but in spite of the +knocking about to which your favourites have been exposed. + +The fiddle-doctor has attended to your violin’s internal economy, and +gently healed its bruises, killed the wolf or fiddle stomach-ache +from which it was suffering, glued tight the rattling back, ribs, +belly, fixed the loose sound-bar, and readjusted your Cremona’s very +soul (_l’âme du violon_), which is the sound-post and so it fares +well; but remember, ’tis better to keep a fiddle in repair and use +than allow it to get out of both, and go a mere wreck to the workshop. + +I am not forgetting, when I say “use,” that the incessant and +continued playing upon an instrument is said to result in its getting +what Joachim calls “played out,” and that collectors have been great +benefactors by withdrawing choice instruments from wear and tear, +giving them thus long periods of suspended animation; but, as a +general rule, so long as a violin lasts--and how long it will last is +still a vexed question--fair wear and tear and attention is just as +good for a fiddle as work, exercise, and cleanly habits are good for +man and beast. + +Neglect is _never_ good; knocking about is _never_ good! + +Lay it to your heart, O young player! + +What is that precious thing committed to your care? You have brought +it home from the auction-room--your Amati. There was a conspiracy to +keep down the bidding. An influential dealer wanted to buy it cheap, +having already half sold it in advance for twice as much as he meant +to give; he went up to £40 at the auction and stopped, but you were +the dark horse and made another bid; he winked at the auctioneer, +supposing it to be a bogus bid; the man with the hammer paused and +looked at the dealer, who shook his head; for once the dealer had +been too clever and lost his Amati for a £5 note. It was knocked down +to you. + +You get it home; there is something wrong about it; the timbre of the +A string is unequal--sweet, but too weak--it has a crack in one rib. + +You don’t expect a trumpet-sound like that of a Joseph, or quite the +bell-like ring of a Strad, but you do mean to have a quality like +the ripple of water--a round, soft, and incomparably sensitive and +_intime_ tone, not to be surpassed by Strad and never reached by +Stainer. + +Of course your early Nicolo has got to be overhauled. He has got +a crack--perhaps more than one. Why, he is already more than two +hundred years old, and may have a mark of the young Stradivari’s +chisel about him. Of what attention is he not worthy! Take him to a +subtle violin medicine-man, who will at a glance see what he has got +to deal with, and will sit down before him and think! + +He will then take him up, handle him, tap him, pull him to pieces +with excessive care and reflection. When you get him back, you may +still be not quite satisfied, but wait. _Your_ treatment has to begin +where the fiddle-doctor’s ends. + +The convalescent home comes after the hospital--your house is the +convalescent home. + +The glue must dry; the changed sound-post must grow to the +newly-directed strain and tension of the vibrating boards; the +refixed flanks must learn to deal with the air column, and the +filled-up crack, by constantly thrilling with the rest, must have +time to forget that it ever was a crack! + +Be not impatient. Play upon it gently at first, and by-and-by draw +out its tone; lay it aside and watch that no harm comes to it; let it +lie open, with a soft silken wrapper on the strings--near, not too +near the fire; it must not get hot, but, like good claret, just the +temperature of a comfortably warm room. + +Think of it in winter as you would think of your pet canary; +don’t let it get chilled at night; let it be in your own bedroom, +or wherever there is an atmosphere and temperature fit for a +well-cared-for “human.” + +’Tis half human; ’tis caressed by your hand; it lies close to your +cheek; ’tis breathed on by you when you press it, in moments of rare +inspiration and musical trance, between your chin and your left +breast, where its vibrating back actually _feels_ the pulses of your +own heart. The waves of sound that you generate from it are saturated +with the magnetism of your touch; the trembling pressure of your +fingers comes from the shaking of your own life-blood as it beats in +the mysterious valves of the heart, and seems to mingle with those +more than atmospheric, those _psychic_ waves which travel out upon +the air in a flow of magic sound conveying your inmost self to the +inmost selves of others! + +So this half-human thing must live with you and be cared for by and +fare with you, and be kept in good humour. + +See that no clot of dirt be in its case, no speck of rosin to vex and +fret the smooth amber-coloured back. Take it out lovingly; polish it +with soft handkerchief; keep it shining wherever the varnish still +shows up, and scrupulously clean elsewhere. + +The vile notion that a coat of rosin does good, and may be left with +advantage like a festering mass on the belly underneath the strings, +is a most grievous delusion! + +Why suffer the corrosion of the varnish with a foreign substance to +remain there more than on any other part of the wood? + +Rosin is for the strings, not for the belly, and the strings are for +friction, and are intended to be scraped through and worn out and +replaced, but the belly is for vibration and is never intended to +wear out. + +Your rosin is life to the strings, enabling them to speak, but ’tis +death to the wood, stifling its pores and striking it dumb! + +Never touch your violin with oil, or spirit, or colouring. Only a +skilled repairer can venture to do that, and even he will not always +be wise. + +I have seen really good old instruments too much cleaned or daubed +over ruthlessly with muddy brown varnish, much, as Ruskin says, +he saw men with knives and mops of paint at Venice scraping away +and splashing over with raw blue the vast old faded skies of Paul +Veronese! + +A spick and span mania seizes at times upon restorers of all schools. + +A relative of mine had a Spagnoletti restored to him by a cleaner, +but so repainted as to be worthless. + +Have not half the cathedrals in the land been disfigured by +whitewash, starched and bleached just like so much dirty linen, and +the old frescoes obliterated like so many disfiguring stains; and +even now, in these more enlightened days, how many old carvings have +been replaced by modern routine-work sculpture, whilst the walls, +façade, and floor of grand old St Mark’s at Venice have been smeared +over with Salviati’s modern mosaic. Thus have I seen a Maggini +botched and browned over so completely with bad German varnish as to +leave only faint traces here and there of the original coating. + +Never in the matter of varnish dare to _replace_ what time has +stolen; that loss of old varnish is a tribute paid not ungrudgingly +to “the Vandal years,” who have spared the life and been unable +materially to injure the fabric of the rare old instrument. Above +all, thou favoured guardian of a Cremona, never let it get near damp, +or suffer from any other mouldering or corrosive influence. + +A friend of mine, finding that the worm had got into his violin +_case_, which contained a Guadagnini, proceeded to saturate his case +with benzoin, and before it was properly dry replaced the precious +instrument, with the result that the old varnish was brought up in +blisters all over the back, which is now one crinkled mass, as rough +to the touch as a nutmeg-grater. The varnish was completely ruined, +and what is worse, the violin has never sounded like itself since; a +clear proof to my mind that the varnish affects the tone, or at least +that damaged varnish impairs it. + +It is not at all an uncommon thing to find a violin, which has been +left unplayed upon for some months, sulky when first taken out. + +Do not be rash or fidget with the bridge or soundpost. Warm the +fiddle up gently; rub it lightly with all due care, and play on +it without taking any notice of its temper; go on for a couple of +hours; you will find, to your surprise, that it has recovered all +its own sweetness and charm, and will be ready to charm you with +the delightful sensitiveness of its response. All that was really +wanted was for the temporarily disused channels of vibration to be +again filled with sound--the pores--the desiccated hollows to be +once more shaken up in the old way. The instrument has really gone +to sleep--some of its nerve currents have got sluggish--that is, the +desiccated powder molecules have stuck in the pores and must be set +rolling again. But, like one just awakened, the fiddle takes a little +time to be “all there,” as the idiom runs. + +Something similar may be observed in a large hall. When, after the +atmosphere has been quiescent for some time, speaking first begins, +the speaker will not be heard well; the atmosphere is stiff, and only +when the whole of it has been set in vibration--and that takes a +little time--does it become sensitive and sufficiently elastic to be +capable of transmitting the slightest inflections of sound. + +There is, again, an electric as well as an atmospheric and molecular +state of the air and all other vibratory substances, but this is +a side of acoustics extremely little understood, and can only be +dealt with empirically by speakers, singers, players, and especially +handlers of violins, who will instinctively make use of some laws +which they do not understand, and which indeed do not yet seem to +have been correctly formulated. + +I feel that something ought to be said about the position of the +sound-post, though frankly I would rather not say anything. + +Whatever advice one gives is certain to be wrongly and mischievously +applied. + +Technically, the sound-post should be a little behind the right foot +of the bridge, if you look from head to neck, which is of course +the left foot if you look from neck to head. It ought also to be +straight--if it is aslant--unless the surface of the ends be cut on +a slope. Of course it clings but partially to back and belly, whose +throbs it is intended to blend; a little too near the bridge will +often produce a light hard tone; a little too far will tend to a +loose, muffled, or tubby quality; a little to the right will brighten +the right string at the expense of the left, and _vice versâ_. Get +it exactly in the fit place, and you attain the utmost sensibility +and equal sonority of which your violin is capable. But so capricious +are the vibrational laws, and so subtle are the peculiarities of +each violin’s nervous system, that the position which at first has +failed to yield good results will ultimately be found to have won its +way to the heart of your violin, the instrument adjusting itself to +what was at first an uncongenial treatment of its nerves, until the +nerves learn to sympathise, and even rejoice, in special directions +of pressure and tension induced by the sound-post. When this happens, +better let well alone and don’t attend to outside advice of experts. + +It is seldom wise to encourage an amateur, or any but a skilful hand, +to trifle with the position of the sound-post. If it _must_ be moved +or has fallen down, why then by all means take the advice of an +expert; go to the doctor. + +The same sort of advice may be given about the position of the +bridge. Granted that you have a bridge which suits your instrument +(and the importance of this I have elsewhere dwelt upon), then +consider whether ’tis worth while to move your bridge at all. The two +little side slits in the ∫ ∫ indicate approximately the position of +the bridge; let a violin-doctor determine the right height, which, +remember, must be modified according to its position, and the slope +and elevation of the finger-board. But here again there is a vague +and subtle margin for readjustment; the importance of the bridge’s +position is of course directly related to the whereabouts of the +sound-post, as the bridge is a prime factor in dealing first with the +vibrations transmitted by the sound-post from belly to back. + +There are violins which gain brilliancy by the bridge leaning a +little forward, but this is of course dangerous, as a little more, +and down comes the bridge. The theory of course is for the feet +of the bridge to grip equally at all points the surface of the +belly--flat and close, and with equal pressure. Now, if the bridge +leans forward, the grip of the back part of the feet is slightly +lifted, whilst the pressure of the front part is accentuated, and +if it leans backwards, precisely the reverse takes place. Yet so +capricious are fiddles, that some do not seem to like to have their +bridges quite straight, and so they have got to be humoured. + +Without grave cause I should advise not meddling with bridge or +sound-post after they have been readjusted by a good repairer. He +may not have been quite right; he may not have had the time or +patience to deal with your _malade imaginaire_ of a fiddle--for +amongst fiddles as amongst people, there are _malades imaginaires_ +which baffle the profession--but your fiddle-doctor will be probably +more right than you--fussy, irritable, discontented, inexperienced +amateur, and, if you leave off tampering with the works, the fiddle +will very probably adjust itself and get all right. + +Then of course you must remember that whenever you touch the bridge +you touch the elevation of the strings above finger-board. Put bridge +back, you slacken the touch for the player by bringing the strings +close down on the finger-board; put it forward or tilt it, and you +lighten the touch; make it harder for the fingers by lifting the +strings higher from the finger-board. + +And now a word about your finger-board. This is generally made +of ebony; the old masters used various brownish woods, choosing, +of course, the harder ones, which they often inlaid beautifully. +Sometimes even they used ivory; you may perhaps have noticed that on +some violins you have a difficulty in stopping fifths, or indeed any +chords, in tune. This, unless you are a mere blunderer, comes from +the state of your finger-board. You may not have noticed it, but you +will observe that the strings, by constantly being squeezed by the +fingers against the smoothly-arched surface of the ebony, have worn +channels in the wood, but channels of unequal depths; the consequence +is that the same pressure, forcing two strings down on unequally +raised surfaces, fails to produce that relatively equal pressure +necessary for producing your true fifth; the string also being +sunk, it does not get the full benefit of the finger’s pressure, +as the shock of impact will be broken by the higher level of the +finger-board on either side of the sunken string. + +In this way the tone _quality_ as well as the _intonation_ suffers +from what so constantly eludes observation--a worn finger-board. + +Of course a new finger-board, or the restoration of an old one, is a +very easy matter, and can in no way affect, except for the better, +any violin. + +It may safely be said that no violin now in use has either its +original finger-board or, for the matter of that, its original neck. +Strings of very ill-assorted thickness are also responsible for +imperfect fifths. + +The management of the pegs sometimes presents difficulties to the +novice. Rosewood, ivory, and boxwood have been tried, but ebony +seems to be the favourite, though many incline, as I do personally, +to rosewood, which is less dense, and thus, in contact with the +maple-head (which is again less dense in fibre than the rosewood), +offers a less hard and violent contrast than does the iron ebony to +the porous maple. + +But the all-essential thing is for the pegs to be nicely fitted, and +it is a vile practice to rosin the pegs to make them stiffer, or to +rub them with lead-pencil or whitening to make them turn more easily. + +If your peg sticks, it is either because it does not fit the hole, +is not smooth, or because you have rammed it in too far in order to +resist the pull of a string, probably coiled round and round the pegs +in a tangled, twisted mess. + +There never should be a need for this over-ramming in of the screw, +nor would there be if, when you pulled up your new string to pitch, +you immediately let it down, drew the stretched part tight, and then +screwed up again, when you would find, instead of ever so many coils, +you had reduced the number to one or two, which would at once lift +the strain from your screw, and make it needless for you to force it +in till it stuck and almost refused to move at all. + +You should be able, when your fiddle is at your chin, to nip the +peghead between the first and third joint of your forefinger, and +adjust the pitch to a nicety and in a moment; but then the resistance +of the screw must be so nicely balanced with the tension of the +string as to allow of its moving easily when gripped, and keeping in +its exact place when left. + +It is a very strange thing that, whilst all sorts of mechanical +contrivances for moving violin screws have been suggested, and even +tried and adopted for guitars and double basses, the violin retains +its simple and primitive screw; nor would any one who lays claim to a +decent position in the trade dream of advising a departure in this, +or indeed in any other respect from the custom of the Cremona school +and its successors. + +Concerning the stringing of your violin, beyond the hints I have +given with regard to the accumulation of evils round the peg, there +is not very much to be said. + +The quality, manufacture, preservation, and price of strings has +already been dealt with; and here, as in everything connected with +violins, there must be fine and sympathetic adaptation of strings +both to the performer and to his instrument. + +A young girl will naturally incline to thinner strings than a strong +man, just as she will usually prefer a lower bridge, which will +reduce the resistance because of the reduced distance between the +strings and the finger-board. + +Some players will prefer a thick first or third string, according to +the quality of tone they are able to elicit; some a smooth or rather +thin patent fourth in preference to the usual more roughly-coiled +and thicker G string, which, however, is preferable for orchestral +playing; but, as a rule, buy your strings according to gauge, if +you can’t trust your eye, in a good shop, and you will not be +disappointed. + +Remember, as I have previously intimated, that any great inequality +in the relative thickness of your strings may be quite as much +responsible for your imperfect fifths as an old channelled +finger-board. Use plenty of rosin, and let the string be seasoned +with it right up to the bridge, but not much, if at _all_, below the +top of the finger-board. The rosin must be well rubbed in before you +attempt solo work, as any excess of what I may call raw undigested +powder will produce a most vile screeching. + +The tone of a fine violinist never reminds you of the cat-gut and +rosin. In the pure disembodied tone of Piatti, Joachim, or Sarasate +we entirely lose the sense of all beggarly elements; they have +suffered a change into “something rare and strange.” + +The rough-and-ready way of testing false strings by setting them +in vibration, holding by each end, and twitching till the double +line is seen, and if a third line appears condemning the string as +false, is a method often, not _always_, reliable. You can never be +quite sure till you have put the string on. If false, you _may_ get +a true length out of it by trying another part; but, as a rule, if +one length of a string is false, it is bad all through. A player, +especially a soloist, should always have a length or two of stretched +and tested firsts in his case, or, better still, in his waistcoat +pocket, before he goes on the platform, unless he can ensure the +presence of a second reliable instrument at hand in case of a sudden +breakage. + +Strings have every kind of vice short of downright falseness. You +need not put up with wheezy or dull, or any sort of impure vibration, +and beware of laying the blame on the violin when the string is the +offender. + +Of course, if the sound-bar or the back or belly of the violin is +loose, or the sound-bar askew, that will account for a good deal. By +tapping all round the front and the back, just where these join the +ribs, you can easily discover by a certain jar or rattle whether and +where something is loose; it may be one of the blocks or linings. + +Test the fiddle and you may acquit the strings; test the strings and +you may acquit the fiddle. + +You may sometimes experience a difficulty in playing the A or D +string without striking the E or G; this may be due to your own +clumsiness, but it may also be due to the curve of your bridge being +too flat, or someone or more of the strings having eaten too deeply +into the bridge. + +If your hand perspire much--and all hands perspire--your strings, +especially your E string, will rag out. It is difficult to say +exactly at what stage in the ragging process it is advisable to +change your string. It is strange, but true, that the tone of an old +ragged string is not materially impaired. I have sometimes fancied +that such thorough tough and seasoned strings are even improved in +spite of age and infirmity. Certain it is that the smoothest string +will go without warning, and the raggedest will sometimes hang on +down to a mere thread. + +Paganini perspired frightfully, so much so that he always carried a +dry shirt in his violin case, and a gentleman noticed that when he +opened his case to take out his violin for a public solo, his strings +were in rags. + +I have sometimes observed that, oddly enough, a second or third +string is less durable after it has ragged than a first; the wearing +of the threads which compose the thick strings seems less hard and +tight than those of the thin chanterelle, or the resultant material +is softer and gets soaked and cheesy, and like cheese is readily cut +through by the nails. + +Lastly, the amateurish and falsely-assumed economical habit of +slackening all the strings each time the violin is replaced in its +case is a delusion and a snare; it only worries your instrument’s +nervous system. + +Slacken your _bow_, not your strings. + +The violin gets accustomed to the normal strain, and adjusts itself +to it, and resents being deprived of its due tension as much as an +athlete would resent his dumb-bells being removed. + +The strings are quite as likely to break by being constantly fidgeted +up and down, and the violin is much more likely to get demoralised by +the wearing action and reaction of a varying strain, than if you let +it alone with all its strings at their accustomed pitch. + + + + +CHAPTER XV + +VIOLIN DEALERS, COLLECTORS, AND AMATEURS + + +I Have come to the conclusion, “after long years,” that there are +three things about which your averagely honest man has no conscience +whatever--the first is a horse, the second is an umbrella, and the +last, but not least, is a fiddle. + +He will buy from some needy ignoramus a fiddle worth £100 for a £5 +note, if he can. He will sell a fiddle which cost him £5 for £100, +if he can. Truly, the _caveat emptor_ of the ancient Romans covers a +multitude of sins. + +On the other hand, the extreme ignorance of many persons who have +violins to sell offers singular temptations to dealers, who are a +class of people constitutionally on the make. + +In bygone days, people who did not play the violin used to be +criminally careless about the instruments that happened to be in +their possession. Cremonas might lie for years in damp attics, or +hung up in disused cupboards on rusty nails, or away in the dust of +ages on the top of old beds and cabinets. Even if the fiddle was +ultimately stolen--borrowed and not returned--it was thought hardly +worth a serious inquiry; it “was all to pieces” or “only an old +fiddle”; and, indeed, I have before now seen such with the belly off +converted into serviceable dustpans. + +Credulity has succeeded to ignorance, and now any one who has any +sort of shabby-looking fiddle fancies he has got a rare Cremona! + +He will advertise it unblushingly in the halfpenny papers, bring it +gravely to supposed judges, and make a favour of even showing it to a +dealer. + +Nothing will shake the confidence of these simple folk in their +spurious wares; they will bring out a common brown German _dated_ +Maggini, and you point out that Maggini never dated his instruments; +they suppose you to be envious. Or they show you a Stainer rashly +dated fifty years after that maker’s death (such an one was lately +brought to me), with a label so recent that you wonder at the +brazen fraud. As to the good and tolerably deceptive French copies +of Strad, their name is legion, and for a moment a person fairly +conversant with fiddles may be deceived by such a subtle and withal +honest copyist as Lupôt, but to the eye of the experienced dealer +the varnish is quite enough. The varnish that chips off instead of +rubbing away, thus leaving the raw wood more exposed than permeated, +is not Cremona varnish. + +Of course as to the new labels in modern type I have nothing to say. +No one but a complete fool in fiddles could be taken in by them. + +Still, when all gross cases are put aside, there is an excusable +margin left for honest error, especially when personal interest is on +the side of error. + +I have very little doubt that my old friend, the late Mr Cox, well +known as an acute picture dealer, really believed in a certain violin +which he called the Red Knight. He bought it at the great sale of +Gillott’s fiddles as a rare Joseph Guarnerius. + +I would never tell the old man to his face that his Joseph was a very +plausible red Landolpho copy of Joseph, and I was even weak enough +to allow it to lie on the table of the Royal Institution side by +side with the “Dolphin,” Enthoven’s Maggini, the Emperor of Russia’s +Strad, a genuine Nicolas, a Joseph and a Jacob Stainer; in short, the +Red Knight lay by favour for one evening in company with some twenty +gems of worldwide reputation. + +In the course of my lecture, to please my old friend, I took up the +Red Knight, remarking, “Here is a fine violin _labelled_ Joseph +Guarnerius, once the property of Mr Gillott, now owned by Mr Cox.” I +said no more. + +A few weeks afterwards the Red Knight was sold for £300, partly on +the strength of my having vouched for it at the Royal Institution. + +Meanwhile the Jupiter of judges, William Ebsworth Hill, had been +consulted by the purchaser, who, on finding that he had only got hold +of a Landolpho, wanted his money back. + +I think they would have gone to law if they could have counted on me +as a witness; but when I was threatened with a subpœna, I replied, +“I would certainly go into the box, but should have utterly to deny +that I had vouched for the genuineness of the Red Knight or expressed +any opinion whatever about it except that it was ‘a good fiddle +_labelled_ Guarnerius,’ worth perhaps £60 but not £300.” + +The upshot was that I was not subpœnaed. Mr Cox refunded the money +and the buyer restored the fiddle. + +No one doubts but what Mr Gillott, of steel-pen celebrity, did +obtain, chiefly through Charles Reade of “Never Too Late to Mend” +fame, a great many very fine fiddles, but I am afraid that Mr C. +Reade was also responsible for some comparative rubbish like the +Red Knight. Certainly I find a very dubious Strad tenor (one of +Gillott’s) labelled 140 in the South Kensington collection. As to +this particular collector’s specimen, if I grant him his belly and +his sound-holes, it is about all that I can do--for Strad never threw +that scroll nor touched with plane or chisel that back and ribs. + +I brought home from Australia a so-called Peter Guarnerius--really an +excellent violin--but it was no more a Guarnerius than a Strad, and +was sold far under its value as a Camillo Camilli, which it probably +was. But what will you? After all, a fiddle at any given time is +worth what it will fetch. + +The most impudent fraud or the most blatant delusion which has ever +come under my notice was the so-called Maggini exhibited by Mr J. W. +Joyce (110, South Kensington Exhibition, 1872). + +It was made by Bernhardt Fendt, and I gave in the _Pall Mall Gazette_ +of the period its history and the names of its chief owners; but it +was not removed, neither was the Amati tenor (No. 147), labelled and +hung as Maggini, ever re-labelled, nor was a Klotz fiddle which bore +a Stainer label ever corrected. + +The only fraud I succeeded in dislodging was a spurious +Bergonzi--also sent up by Mr J. W. Joyce--which after my attack on +the South Kensington collection of 1872 disappeared. + +The poor thing, no worse than the Bernhardt Fendt which brazened it +out like a false claimant, was merely made a scapegoat of. + +These be among the humours of your loan collections! + +But we must be indulgent. Some mistakes are sure to be made, but it +is only fair to remember that the fiddle world is vastly indebted to +these grand fiddle exhibitions all the same. The exhibition of 1885 +at South Kensington was not one whit less important than the 1872 +show. + +The 1885 specimens were more discreetly selected than those of 1872. +They had the advantage of being largely controlled by Mr Hill. + +Besides the usual supply of leading Italian makers, the English +school was remarkably well represented. There was found a capital +Ford, a maker who has not received due credit for his excellent work. +A good Duke and Walmsley, and a yellow fiddle by Tobin, a man quite +noticeable for the cut of his scrolls, which are always full of +character. + +There was an interesting John Lott, richly varnished. A romantic +interest must always attach itself to this fine maker on account of +his early Bohemian life, recorded by Charles Reade in a memoir called +“Jack of All Trades.” + +Charles Reade, who knew Lott intimately, tells us how at one time he +travelled through Europe with a menagerie and became famous as the +keeper of a most clever but vicious elephant called Djek, who, after +killing ever so many men, had to be demolished herself with a cannon, +and was then cut up for elephant steaks to feed the town. + +It was only after the loss of Djek that John Lott came again to +London and took up the fiddle trade, which he had learned in boyhood. + +Joseph Hill, Lockey Hill, and Banks, were also well seen at South +Kensington in 1885. There was also a matchless Urquhart, very +venerable--Anno 1666--the date of the great fire of London, which +happily spared it! + +The Stradivarius case contained Mr Hill’s interesting 1732 Strad (now +Ysaÿe’s violin), which, although made so late in his life, was signed +by the old man, who after 1730, as a rule, had left off signing his +instruments. + +A truly serio-comic chapter might be written on the huge prices given +for frauds. A friend of mine gave £200 forty years ago for a supposed +Strad (which was only a Lupôt) at a time when £40 was a long price +for the clever Frenchman. + +A violin professor I know sold a very poor Strad the other day, but +made a very good thing out of it. When the lady showed it me, I took +a liberal view, and said that £300 would have been a long price. Her +countenance fell. + +“Good gracious! I gave £600!” + +“Keep it long enough, and _anything_ by Strad will fetch that; but +probably not,” I added, “in your lifetime or mine.” This was some +years ago. + +On the other hand, bargains in Strads and Josephs, Bergonzis and +Stainers, are still no doubt to be got, but only about as often as +bargains in Raphaels, Rubens, Rembrandts, or Tintorets; but amateurs +of pictures and fiddles are mostly wrecked on school-pictures and +school-fiddles, often getting fair money’s worth, but _not_ what they +_pay for_. + +Betts purchased one of the finest Stradivari in the world for 20s. +When John Lott opened it in Vuillaume’s presence, he found the +original bass-bar. The bar--so Charles Reade tells us--was low and +short, and quite incapable of bearing the strain of concert pitch, +and John Lott replaced it with one stronger. The Betts Strad was sold +to George Hart for 800 guineas--a heavy price fifty years ago. + +Mr John Hart, father of George Hart, picked up a violoncello in +Oxford Street for a sovereign or two. The timbre caught his ear as he +passed three street-musicians--violin, cornet, and ’cello. + +Lindley, the great player, came into his shop and bought a fine +Forster ’cello for a round sum. This was the Oxford Street ’cello. + +The destiny of violins has ever been one full of ups and downs, and, +like human beings, they have been literally kidnapped, as in the case +of Spohr’s, which was lifted from behind his travelling carriage; +shipwrecked, like the Peter and Paul, _vide_ page 96; murdered by +those Vandals who patch stray bits of slaughtered Cremonas into +modern fabrics, and sold for slaves, as in last century, to be +scraped in dim churches or ancient orchestras, until found out to be +royalties in disguise by the Chanôts and Vuillaumes of the nineteenth +century. + +One would suppose that the stealing of a first-class instrument would +be next to impossible. Hardly a fiddle of mark now exists which is +not known to one or other of the great dealers in Paris, London, or +Berlin; and whenever it changes hands, it is likely to come before +them again for inspection and verification. Yet some of the famous +Spanish Court Strads have vanished no one knows where, and another +famous Strad from the Plowden Collection, whilst in possession of one +of our diplomats at St Petersburg, disappeared, and has never since +been traced. + +Many years ago I left a Vuillaume, labelled Albani, in a railway +carriage when I got out to take refreshment. I was not gone five +minutes, but in that five minutes my Vuillaume had gone. + +After the death of a well-known nobleman, a certain so-called Strad +in an elaborate case, with finely-mounted bows, was submitted to +Mr Hill for inspection. It was nothing but a common German fiddle; +but Mr Hill told me he had no doubt that the original occupant +of the noble case had been stolen. Probably many such thefts have +been committed by dishonest servants. Nothing could be easier +than to substitute one fiddle for another in houses--and they are +legion--where people do not know one fiddle from another, and where +fiddles lie unused and unvisited in lofts and cupboards, I might +almost say from generation to generation. No soloist who travels +should fail to insure his treasure. Sarasate had a heavy insurance on +his violin when he went to America. + +But worse than theft is mutilation. The chances are that what is +stolen, unless it be stolen deliberately to cut up, will some +day reappear intact; but the chances are small that a mutilated +instrument will ever collect its _disjecta membra_. + +Still, as in the case of Tarisio’s Spanish bass, that too is +possible, just as the recovery of the Hercules Farnese statue, before +alluded to, was possible. + +A well-known amateur whose Strad had been taken to pieces for repair +and the pieces wrapped in bits of paper, on unfolding the fragments +found the head missing. The loss seemed irreparable, but a day or +two afterwards an old apple-woman picked it up in the gutter, and +happened to take it to the very fiddle-shop charged with the repair +of the Strad. That Strad head was worth just 2s.--to the old woman! + +Nothing is easier than the perpetration of a fraud by a clever +copyist if he chooses to attempt it. Incredible as it may appear, +Paganini was shown by Vuillaume two fiddles, one of which was his own +and the other a counterfeit, and was quite unable at the moment to +decide which was which. + +Chanôt’s copy of the Carlino or Kerlino 1454 viol, No. 14, South +Kensington 1872 Exhibition, completely deceived me until I had the +opportunity of handling both instruments at leisure. + +These frauds extend to bows. The Tourte and Dodd bows in existence +that know not Dodd or Tourte are legion. + +I should recommend my readers never to leave a valuable bow in their +case when they send their violins for repair. + +I lost a good Dodd myself in that way. Fine bows are not safe even +in the orchestra anteroom; they get “changed.” It seems so simple to +some people, when a bow, a crush-hat, or an umbrella happens to be +lying about, to mistake it for their own and leave theirs behind, +especially if it is inferior in quality to the one they chance to +catch up by mistake! As luck will have it, ’tis seldom a worse one +that gets caught up! + +A friend of mine happened to leave a fine Tourte bow in his case, +and then he sent his fiddle for repairs to a smart dealer who shall +be nameless here. When the case returned, it had a bow in it, but it +was a copy, and a very good copy, of a Tourte. In this instance the +dealer restored the original under pressure. + +In everything connected with a fiddle and a bow I say, Beware! +Beware! Further, let me say to amateurs, not one in a thousand +of you, even with practice and opportunity, is fit to judge of a +violin; you may easily know what _suits_ you, and that no doubt for +practical purposes is the essential. You can hardly know what is +_genuine_. + +Over and above culture and wide observation and experience, a certain +instinct is required, and few are they that have it. Why, my friend, +if William Ebsworth Hill, from whose judgment there was no appeal, +got “his eye out” when only for a few weeks he left off looking at +fiddles, or distrusted his own judgment on certain days, as to my +knowledge was the case--for he was at once the most diffident and +absolute of men--what chance have you? Why, none at all! + +I will go further than this, and declare that half the violinists now +before the public are no more judges of a _genuine_ fiddle than my +cook. A man may be a judge without being able to play, and a man may +play divinely and not be a judge. At the same time Charles Reade’s +opinion would have been even more valuable than it was had he played +himself. He never would have written those foolish paragraphs about +modern-made fiddles sounding as well as old Cremonas had he played +himself. It is all the difference between a man who looks at another +man on horseback and one who has got to ride the horse himself; the +first may not see much difference in two horses, but the second soon +finds it out! + +Playing the fiddle won’t make you a judge, but you will be a better +judge if you can play the fiddle. I remember showing Remenyi a very +fine copy of Strad which had deceived many. He walked up and down my +room playing upon it with delight, and pronounced it a genuine Strad +beyond a question. It was a Lupôt for all that. + +As for your ordinary amateur, he will judge by an old-looking label, +being unaware that forgers keep old battered counterfeit type in +stock, or he will note the place of the little buttons which fasten +the inner blocks, supposing that each maker had his favourite +position for these buttons from which he never deviated. Others will +prate about Strad’s wasp sting purfle running counter to the angle +of his corners, or declare that one maker never made his back in two +pieces, whilst another never made it otherwise. + +But there is one mark occasionally found in old Italian violins which +I do not remember to have seen forged or imitated, or indeed even so +much as alluded to by any writer. + +If the amateur happens to have an instrument with a little round +hole in the back of his fiddle a few inches below the nut, filled up +skilfully so as to be almost imperceptible, he may be quite sure he +has got an old violin, probably one of the oldest, as the practice +of falling suddenly on the knees and letting the violin hang, in +processions in which the singers went before and the minstrels +followed after, has long been abandoned. + +That little hole, so cunningly plugged, shows the place where a +slight chain connected the instrument to a button-screw or hook, so +that at the elevation of the Host, the minstrel might suddenly fall +on his knees without the fear of dropping his fiddle. I have an old +Andrew Guarnerius so plugged, and the violinist Oury first pointed +this out to me and explained the reason of the plugged hole! + +Scores have sent me descriptions of their fiddles, and expected me +to pronounce on the genuineness of them, or are sure that they own +a real Strad or Amati, because theirs (in their opinion) exactly +corresponds to my description of Strad or Amati in “Music and +Morals.” All this shows that the outside public have not the faintest +inkling of true violin lore. + +Oliver Wendell Holmes felt this when he wrote to me in 1885. + +He had himself written very charmingly on the violin, and the passage +is quoted with approval even by so redoubtable a critic as Mr George +Hart in his admirable book “The Violin” (1887). + +Oliver Wendell Holmes had the acuteness to see that all _mere_ +picturesque writing was valueless from a technical point of view, and +he thus expresses himself to me in a letter dated December 5, 1885:-- + +“I never knew until I read what you say of the instrument what +profanation I had been guilty of to touch one, much more to write +about it!” and he was kind enough to add: “You have given a life +to the fiddle such as nothing but its own music ever gave it +before!”--words which, coming so spontaneously from the author of the +“Autocrat of the Breakfast-table,” I think I may be allowed to quote +with pardonable pleasure. + +There is a point interesting alike to collectors, amateurs, dealers, +and players, which I feel somewhat strongly about in view of much +recent, and, as it seems to me, ignorantly conducted controversy. + +It is whether, as far as tone and sensibility are concerned, the +best modern fiddles are not quite as good as the best old ones. We +hear repeatedly stories of Strads and Josephs being played side by +side with modern fiddles, whilst the best judges have failed to +detect the superiority of the old over the new. This test is most +unsatisfactory. The ear is as easily confused as the palate. It is +currently reported that if you taste alternately port wine, cream, +and sherry, you will not, after a few sips with your eyes shut, be +able to tell the difference; but no one argues from this that _there +is no difference_. The ear is not only easily confused about the +quality, but even about the direction of sound. + +Let one man shut his eyes and another snap his fingers on the right, +left, and above the other’s head several times running, and this one +shall be utterly unable to tell after a few turns where the fingers +are being snapped. No one is a real judge of the distance from which +a sound comes. If, then, we can be easily puzzled when plied with +such tests about the direction and the distance, no wonder if tests +expressly designed to confuse us about timbre should be equally +successful. But the question is practically settled by soloists +invariably preferring a fine old fiddle to a fine new one, not as +connoisseurs, but as _players_, and there must be a reason for this. + +Therefore, I will hear of no talk, even from the lips of a Charles +Reade, about the varnish, the finish, the artistic beauty in form +or colour of the old violins being largely responsible for this +avowed preference. It is tonal power--quality, sensibility, volume, +timbre--a something _personal_, as it were, to the old fiddles, which +points to certain real qualities in their makers which have not since +been rivalled, and this is quite apart from the item of age. + +Age will make a good fiddle better, but it won’t make a bad fiddle +good; it may also be possible to prematurely age a new fiddle, not +with heat or acids, but quite legitimately, by incessantly and for +long periods of time grinding it through every semitone of its +compass, and well-made modern fiddles will doubtless improve every +year, like good wine, up to a certain point. They will then probably +deteriorate. But the age at which the old Cremonas are bound to +deteriorate has happily not yet been reached. + +The root of the matter lies here. + +A listener behind the door may not know the difference between a +Strad or Joseph or some other, but the _player does_. A spectator in +the Park may see no great difference between the pet horse ridden by +the lady and the even more handsome quadruped upon which her groom +follows; but _she_ knows. So the hunter knows his horse, and values +him above another horse which looks better; the beast he rides will +answer to his will, go anywhere with him, and rise to every occasion. + +This is what your Strad fiddle does. + +All violinists will tell you that there is a _reserve_ of force about +a Strad; you can “pull out,” and you will never be disappointed. + +All lovers of Amati will tell you that they find in Nicolo a +trembling sighing sensitiveness, a tenderness, and a tone delicate to +the point of vanishing, which endears Amati to the women, and still +leaves his finest instruments unapproachable for cabinet-playing. + +And all players will tell you that for domination and downright +big-battalion power, Joseph Guarnerius del Gesù has not his equal. + +And the reason for this real, not fancied, supremacy of the great +makers and their best pupils? + +The reason is complex, no doubt--so complex that, when all +precautions have been taken to imitate wood, proportions, varnish, +workmanship, so as thoroughly to deceive the eye, the modern +_chef-d’œuvre_ is, in spite of puzzled auditors, still not identical +in quality with the old Cremona gems. + +I was called the other day to judge a set of English bells, cast with +the same proportions of tin and copper, of exactly the same size, +weight, and model as a suite of Belgian bells cast by Severin Van +Aerschodt; but the sound? + +Ye gods! No silver clang and tin-kettle parody could be further apart +than were those English and Belgian bells. + +But to return to our fiddles. The reasons of Cremona supremacy remain +to be tackled. + +I hazard the following points:-- + +_1st._ Selection of wood. No doubt the old Lombardian forests, with +their salt-impregnated roots, provided rare planks. The vaunted +American woods fail technically to satisfy the Cremona requirements. + +_2nd._ The knowledge, at first empirical, then intuitive, born of a +lifelong study of the relative density of woods fitted to vibrate +together. Nothing can teach this, no rule or measurements; for every +plank varies in porousness, density of fibre, age, and seasoning. + +Charles Reade was napping when he expressed a hope that a certain +Stradivari back, mated with a new belly, might some day be united to +_some_ Stradivari back of which he knew; but unless it happened to be +_the_ belly Strad had selected for that particular back, what reason +is there to suppose that the result would be satisfactory? + +_3rd._ I am of opinion that the old method of careful oil-sizing and +the subsequent application of gum materially affected the tone. + +Think for a moment only of what is implied in the saturation--too +much or too little of the wood--with oils, spirit, gum of this or +that quality. + +Necessarily some vibratory capacities must be affected--for better, +for worse--by the filling in, one way or another, of the wood +pores; and do not the commonest of modern artificers admit that the +Cremona varnish, and the exact mode of its application, is as yet +undiscovered; and when they speak otherwise, do they not laugh in +their sleeves? + +_4th._ Admit that the _proportions_ are exactly equal, the column +of air almost identical in cubic measure, about 512 to the second; +still remains the vibratory qualities of infinite varieties of +grain--coarse or close, loose or serried--in wood fibre acting upon +that air column. + +The old makers varied their models, but, no doubt, had regard to the +thicknesses and the subtle relations between the hard and soft woods +which would produce the power or quickness of reply, or sweetness, or +penetratingness aimed at. + +It _may_ be that the secret for the production of these is quite +incommunicable, just as a painter, an actor, a singer, a sculptor +will do a thing before you, which you cannot do, which he cannot +teach you how to do, though he place his brush, his chisel, his +music, his toga and footlights at your disposal. + +_5th._ We have no time for failures; they had. Endless experiment, +endless comparison, observation, meditation, unlimited leisure: +one and the same man made each part, and knew the interpenetrative +qualities and the mutual adaptation of the sundry parts. + +We now have subdivision of labour; each man makes one of the parts, +and some one else puts them together. How can such backs accord +with such bellies? How can such ribs cotton with such strange and +fortuitous planks? Truly a scratch company brought together like +strangers, yet expected to accept their arbitrary assortment, and +make sweet harmony together. But they were not fastened together, in +view of one another, by one and the same master-mind, who knew what +was good for them, and what they were good for! + +_6th._ But given the possibility of favourable conditions--time, +absorption, infinite experience, and all the accumulated knowledge of +the past--and given a modern Nicolo, Strad, Joseph, or even Bergonzi, +and given climate, and given wood galore, and might not we expect +Cremona results? + +Why, yes, with Cremona conditions, certainly, or at least a very fair +approximation; and I am far from saying that we are not on the road +to it. + +Until lately it has not been worth while for makers like the Hills, +the Gands, or the Chanôt firms to do aught seriously but repair or +parody closely for the eye the old fiddles. + +But such of Vuillaume’s fiddles as have not been aged with heat and +acids, and the fine £10 to £30 violins now being made conscientiously +by Messrs Hill, in proportion as old fiddles become rare and +inaccessible, must come to the fore. Anyhow, players will, it is +hoped, give up the idiotic folly of paying large sums for indifferent +old fiddles, even with respectable names, when they can get really +fine new ones for half the money with twice the tone--a good tone, +too, which a very few years will suffice to mellow. + +We write these words in the interest of dealers, collectors, players, +and artificers alike--indeed, it would be well worth while for +collectors even now to get hold of the finest attainable specimens +of new work. As a mere speculation it would be at least as sound an +investment as laying down good vintages of port or sherry. + +A good Hill recently made, price £30 or £40, _e.g._ the fine copy +of the Tuscan Strad, only requires age to mellow it into a price of +three figures. + +These new and garish-looking instruments, which, after all, do not +look more gaudy than the Messie Strad, are exceedingly loud in tone, +and withal very sensitive. + +A certain tartness of timbre merely calls aloud for another ten or +twenty years to soften and refine it into the Cremona tone. + +Meanwhile, the aspirants to Cremona excellence are entertainingly +numerous. From time to time I get letters accompanied with samples +from people who claim to have discovered the secret of the Cremona +varnish. + +Here and there some enterprising maker will get a literary friend to +extol him as the successor of Stradiuarius. + +I came across a pamphlet the other day assigning Cremona rank to +a worthy musician who makes fiddles _en amateur_, and a certain +German working in America, whose violins present all the usual +characteristics of instruments made in Germany. I actually got half +through this remarkable document, written _au grand serieux_, before +I discovered that it belonged to the liver pill, patent syrup, and +soap class. + +Rumours may reach you from America of the wonderful Californian wood. +Well, European experts tell me that, fine as is the marking, it does +not yield the required timbre, and that the planks now coming over +from the old forests of Herzgovina and Bosnia are far superior for +fiddle-making purposes. + +Then think of the care and study in selection made by those old +Italian artificers who frequented the Brescian and Cremonese markets, +and haggled over special bits of timber. They knew exactly where it +came from--the peculiarities of the soil, iron or salt impregnated +from whence it came; whether it was cut as it should be, in autumn, +with the sap out of it, and exactly how long it had been cut, and +to what conditions it had been exposed before it came to be worked +up. The subtleties were endless. Who troubles their heads about such +things now? + +No! The fact about modern fiddles you, my anxious inquirer, may take +it for granted is what I have stated. Take good new fiddles by Hill, +Chanôt, Bernardel, Gand, and, according to the time and individual +or one-man power and skill spent upon them, they will rank high, and +higher by-and-by; and if ever the genius and the conditions which +obtained at Cremona, anno 1700, are again found, then, and not till +then, will the peers and rivals of the Cremona masterpieces be seen +and heard--and paid for. + +It may be rash to attempt a scale of prices, when the experience of +the last fifty years proves that we have to deal with a _sliding_ +scale. Forty years ago my father bought a rather small Andrea +Guarnerius at Puttick & Simpson’s for £4, which could not now be +picked up under £20. No Cremona from 1660 to 1760 can be got for much +less, though many better fiddles can be got for half that price. +Of course the rise in the Strads is quite phenomenal. Stainer, on +the other hand, is not valued as highly by comparison as he was last +century; whilst, owing to the rarity of real Stainers, the demand for +Klotz and Albani, more easily attainable, has somewhat increased, and +generally all the second and third class makers are being hunted up +and command good figures now, just as a man who can’t get Charles II. +silver will put up with William and Mary, Queen Anne, and even the +early Georges. + +It is quite safe to buy Urquhart, Ford, Banks, Forster, Furber +(Henry, David, or John), and Pamphilion; but the once popular “Duke” +days are pretty well over. + +Lupôt should be _always_ secured, and Vuillaumes that have not been +cooked with acids and heat; and no collector will go far wrong with +Pique. + +Venetian fiddles, and especially violoncellos, near akin to Cremona, +will be sure to rise; and, as a rule, the Northern fiddles will +command a better figure than the Southerners--Rome and Naples. + +But all such hints are general, and must be taken for what they are +worth, for stray specimens will often turn up belonging to almost any +school, which will have rare merits and can hardly be accounted for +by any systematic classification. + +The following up-to-date (1898) scale of prices may be a useful but +rough guide to the collector with money that burns his pocket:-- + + +PRICES + +[1898] + + Stradivari £2000 to £200 + Joseph Guarnerius 1000 ” 100 + Other Guarnerii 300 ” 30 + Nicolo Amati, and the brothers + Anthony, and Gerome 500 ” 80 or £50 + Stainer 200 ” 30 + C. Bergonzi 600 ” 40 + Maggini 500 ” 50 + J. B. Vuillaume 60 ” 20 + Lupôt 200 ” 50 + Pique 60 ” 10 + Forster (’cellos) 100 ” 20 + Duke 40 ” 5 + Banks 100 ” 20 + +There are two general rules, which, like all rules, may have some +exceptions--not many:-- + +I. Never buy a fiddle simply at the owner’s valuation; judge it by +your own knowledge if you have any, or that of an expert if you have +none. + +II. If you buy at auction, always go a few pounds better than the +highest bid offered by a _dealer_, and if you win, you will be in +luck. + +III. Before sending a valuable violin to be “done up,” select your +repairer carefully. A fiddle maker is not necessarily a fiddle +restorer, and may be quite ignorant of the traditions which should +regulate this branch of the luthier’s art. + +IV. Get your violin’s pedigree _as far as you can_ in detail, with +names and dates. Had this been always done, exhibitions would have +been spared many a delusion and collectors many a fraud. + + + + +POSTLUDE + + +My task is ended. + +The shades of the great melodious dead still seem to hover around +me--as their echoes + + “Roll from Pole to Pole,” + +and from + + “Soul to soul, + And grow for ever and for ever.” + +Violins may be made hereafter, copies may deceive the eye, sounds +bewilder the ear, but there will never again be an Amati or a +Stradivari, any more than a Phidias or a Raphael. + +The age of discovery comes but once. + +It is big with the future up to the moment when it resumes in itself +the golden heritage of the past. We may imitate, but we cannot +reproduce; nor will that thrill of perfection--that emotion of +eternal novelty which we experience in contemplating and sounding +the Cremona masterpieces--ever electrify those who handle their pale +effigies, uninformed by that secret magic which only appertains to +absorbing things done for the first time. + +Hail! to the mighty dead, whose incommunicable touch is still felt by +millions upon millions from generation to generation! + +Hail! to the mystic life, which still circulates throughout the +arteries of ten thousand orchestral organisms! + +Hail! to the undying names of those who first imprisoned (in order +to set free) the passionate longings and divine aspirations of +humanity--in the + + SOUL OF A CREMONA! + +[Illustration: + + Nicolaus Amatus Cremonen. Hieronymi Fil., ac Antonij Nepos Fecit. + + Gasparo da Salo, In Brescia. + + Andres Guarnerius fecit Cremonæ sub titulo Sanctæ Teresiæ 1696 + + Joseph Guarnerius fecit ✠ Cremona anno 1793 IHS + + Gio Paolo Maggini in Brescia. + + Anno 1733 Carlo Bergonzi fece in Cremona + + Antonius Stradiuarius Cremonensis Faciebat Anno 1709 +] + + + + +DICTIONARY OF VIOLIN MAKERS + + + AACHNER, Philipp. A Mittenwalder, 1772; ordinary German characteristics. + + ABBATI, Giuseppe. He worked at Modena, according to Forster, + 1775-93. + + ABSAM, Thomas. Lived at Wakefield, in Yorkshire; but his name, + identical with the birthplace of Stainer, suggests a German origin. + Employed by Pickard, of Leeds; his labels run: “Made by Thomas + Absam, Wakefield.” Date 1810-49. + + ACEVO. Doubtful whether he ever existed. Fétis saw a bass viol + which he connected with his name. It was signed at the back, “Marin + Marais,” but it is all very shadowy. + + ADAM, Jean Dominique, son of Jean Adam. Both worked at Mirecourt, + according to Vidal; both made bows, and the son made the best, and + signed all he sold himself, 1823-69. + + ADAMS, C. Takes rank merely as a local maker at Garmouth, Scotland, + 1800. + + AGLIO, Giuseppe dall’, of Mantua; varnish bright yellow, 1800-40. + + AIRETON (Airton), Edmund, of London. Made good fiddles on the Amati + and Steiner models; he varnished yellow, 1727-1807. + + ALBANESI, Sebastiano, is said to have lived at Cremona; his work is + almost unknown, 1720-44. + + ALBANI, Mathias, b. about 1621, Botzen (Tyrol); d. there 1673. + (_See_ p. 102.) + + ALBERTI, Ferdinando. Milanese; yellow varnish. Label: “Ferdinando + Alberti, fece in Milano, nella contrada delle pesce al segno della + Corona, nel anno 1740-60.” + + ALDRIC. Maker and great repairer. Labels: “Fait par Aldric,” or + “Rue de Seine, 71, près celle de Bussy, Aldric, luthier, Paris, an. + 18--.” (_See_ p. 174.) + + ALESSANDRO. A Venetian maker, 1540. + + ALETZIE, Paul. Worked at Munich; good tenors and violoncellos, + German type, 1710-20. + + ALLARD, François. Successor of Maubert, 9 rue du Petit-Pont, + 1788-89. + + ALVANI. A Cremonese maker, 1750. + + AMATI, Andrea. The father of the Cremona school, 1525. (_See_ Chap. + V.) + + AMATI, Antonio, elder son of Andrea Amati; b. Cremona about 1560. + (_See_ Chap. V.) + + AMATI, Girolamo, second son of Andrea Amati; b. about 1562. (_See_ + Chap. V.) + + AMATI, Girolamo, third son and successor of Nicola Amati; b. Feb. + 26, 1649. (_See_ Chap. V.) + + AMATI, Giuseppe. Said to have lived in Bologna, seventeenth + century. (_See_ Chap. V.) + + AMATI, Nicola, younger brother of Andrea Amati, is said to have + worked with him, 1568-80. (_See_ Chap. V.) + + AMATI, Nicola, son of Girolamo Amati; b. Dec. 3, 1596; d. April + 12, 1684, aged eighty-eight, according to the registers of Cremona + Cathedral. (_See_ Chap. V.) + + AMBROGI, Pietro. Cremona and Rome. “Petrus Ambrogi, Crem. fecit + Romæ, an. 17--.” + + AMBROSI, Pietro. A Brescian maker; very mediocre, 1712. + + AMBROSIO, Antonio d’. Neapolitan, 1820. + + AMELOT. French maker in Lorient; yellow varnish; mediocre, 1812-29. + + ANCIAUME. Existence doubtful. + + ANSELMO, Pietro. Cremona and Venice; small pattern; deep yellow + varnish; fair maker, 1700. + + ANTONIAZZI, Gregorio. Bergamo, 1738; labels bear: “in Colle, 1738.” + + ANTONIO, Cypriano. + + ANTONY, Girolamo. Cremonese pattern; yellow varnish, 1751. + + ARDENOIS, Johannes. Ghent, 1731. + + ARTMANN. Weimar, cir. 1760; pupil of Ernst of Gotha; Amati pattern; + yellow varnish. + + ASKEY, Samuel. Pupil of John Morrison; employed by Corsby, cir. + 1825. + + ASSALONE, Gaspare. Roman; Amati pattern; over-arched; poor yellow + varnish. + + AUBRY. Paris; a nephew of Aldric (who dealt with Tarisio); inferior + to his uncle, 1840. + + AUDINOT, Nestor Dominique, b. at Mirecourt 1842; worked under + Sébastien Vuillaume; took up his business in 1875 at the age of + seventeen; is very industrious, and makes excellent instruments. + Labels: “N. Audinot, luthier, élève de Vuillaume, Paris.” + + AUGIÈRE. Pupil of Clément, Paris; good maker; red and brown + varnish, 1830. + + + BAADER, J. A., & Co. Mittenwald; wholesale producers on cheapest + terms; their Stainer copies are good, 1854. + + BACHELIER. Inferior French maker, 1777-89. + + BACHMANN, Carl Ludwig. An excellent maker of Berlin, 1716-1800; + violins, violas, and ’cellos often mistaken for Cremonas; a viola + player; maker to the Prussian Court; founder of the Berlin Amateur + Concerts; inventor of screw pegs for double-basses. + + BACHMANN, O. Good maker, of Halberstadt; first-rate repairer; wrote + on violin construction, 1835. + + BAGATELLA (Bagattella), Antonio. Padua; good restorer; much + employed by German princes; made few good instruments, but wrote + learnedly on violin construction, 1750-82. + + BAGATELLA (Bagattella), Pietro. Padua, 1760-66. + + BAILLY, Paul. Mirecourt; fair maker; Chicago Exhibitor, 1893. + + BAINES. London; pupil of Furber, 1780. + + BAIRHOF, Giorgio. Naples; Gagliano school. + + BAJONI, Luigi. Milanese, 1840-76. + + BAKER, Francis. London, 1696. + + BAKER, John. Oxford, 1688-1720; excellent tone; yellow varnish; + transition maker. + + BALESTRIERI (Balestieri), Pietro, brother of Tommaso. (_See_ p. 88.) + + BALESTRIERI (Balestieri). Tommaso, brother of Pietro. (_See_ p. 88.) + + BALLANTINE. Scotch, 1850-56. + + BANKS, Benjamin, son of George and Barbary Banks, 1727-95. (_See_ + pp. 130-132.) + + BANKS, Benjamin, second son of Benjamin Banks (1727-95), b. Sept. + 13, 1754; d. Jan. 22, 1820. (_See_ pp. 130-132.) + + BANKS, James and Henry, fourth and sixth sons of B. Banks + (1727-95). (_See_ pp. 130-132.) + + BARBANTI, Silva Francesco. A maker at Correggio, 1850. + + BARBIERI, Francesco. Veronese; early Guarnerian pattern, 1695. + + BARNES, Robert Pupil of Thomas Smith; set up with John Norris, + 1765; employed Aireton, but used their own trade label. + + BARNIA, Fedele. Milanese, 1716-51. + + BAROUX. Paris; very good bow-maker, 1830. + + BARRETT, John. London; a contemporary of Barak Norman and Nathaniel + Cross; long and arched pattern; yellow varnish; sweet tone; + labelled: “John Barrett, at the Harp and Crown in Pickadilly, + London, 1731.” + + BARTON, George. London; d. cir. 1810. + + BASSOT, Joseph. Paris; fine maker; brown and reddish varnish; + earlier yellow and inferior; label: “Joseph Bassot, luthier, Paris, + 1802.” + + BAUD. Versailles; experimented omitting sound-bar, but not a + success. + + BAUSCH, Ludwig Christian. Good bow-maker; Naumburg and Leipsic, + 1805-71. + + BAUSCH, Excellent bow-maker; silver medallist, Dresden; friend of + Spohr, 1840. + + BECKMANN (Bekman), Sweno. Stockholm; rough maker, 1700-6. + + BEDLER, Norbert. Würzburg, 1723. + + BELA, Szepessy. Good contemporary maker; worked at Budapest and + Munich, and is now in London; copies Strad and N. Amati. + + BELLONE, Pietro Antonio, known as Il Pescorino, Milanese, 1694. + + BELLOSIO, Anselmo. Venetian; pupil of Serafino and master of M. A. + Cerin, 1720-80. + + BELVIGLIERI, Gregorio. Fairly good Bolognese maker, 1742. + + BENEDICT, Jose. Cadiz, 1738. + + BENEDICTI, Donate de. Cremona, 1674. + + BENTI, Matteo, b. 1579. Brescia; contemporary of Maggini. + + BERETTA, Felice. Como; Guadagnini school; bow-maker, 1760-85. + + BERGÉ. Toulouse, 1771. + + BERGONZI, Benedetto, d. 1840. (_See_ p. 86.) + + BERGONZI, Carlo. Cremona; the first of the great Bergonzi family of + makers; b. (?); d. 1747. + + BERGONZI, Carlo, third son of Michel Angelo. (_See_ p. 86.) + + BERGONZI (Baganzi), Francesco. Named as early as 1687. + + BERGONZI, Michel Angelo, son of Carlo; b. 1722; d. after 1765. + + BERGONZI, Nicola, eldest son of Michel Angelo. + + BERGONZI, Zosimo, brother of Nicola. + + BERNARDEL, Auguste Sébastien Philippe. An excellent maker who + worked under Lupôt and Gand. Firm: “Bernardel et fils,” then “Gand + et Bernardel”; Paris (1849) gold medal, London (1855) gold medal. + + BERNARDEL Frères. Ernst Auguste and Gustave Adolphe, sons of + Sébastien Philippe. + + BERTASIO, Luigi. Piadena, 17--. + + BERTASSI, Ambrogio. Piadena, 1730. + + BERTET, Joseph R. French maker; little known, 1754. + + BERTRAND, Nicolas. Paris; a few early fiddles, 1686-1735. + + BETTS, John Edward, known as “Old John Betts”; b. 1755, at + Stamford, Lincolnshire; d. March 1823; was buried at Cripplegate + Church; pupil of Richard Duke, senior. (_See_ p. 132.) + + BETTS (Ned), Edward, nephew of John Betts; like him a pupil of + Richard Duke. He died between 1815 and 1820. + + BIANCHI, Nicola. Pupil of Guadagnini, 1800 to 1875; Genoa, Cremona, + and Paris; fair maker. + + BINDERNAGEL. Gotha, 1745-1804; inferior maker. + + BITTNER, David. Viennese, 1862-80; made chiefly for America. + + BLAIR, John. Edinburgh, 1820. + + BLAISE, Mirecourt. 1820; indifferent. + + BLANCHARD, Paul François, 1865-94; worked with J. B. Vuillaume; + very good violins; his workmen turn out good cheap ones; follows + Strad; Mirecourt and Lyons. + + BODIO, Giambattista. Venice, 1792-1832. + + BOIVIN, Claude. Paris, 1735-53; fair maker. + + BOMBERGHI, Lorenzo. Florentine, seventeenth century. + + BOMÉ, Thomas. Inferior; French. + + BOOTH, William. English; 1779-1858; good repairer. + + BOOTH, William, son of W. Booth, senior; b. 1816, Leeds; d. 1856; a + clever workman. + + BOQUAY (Bocquay), Jacques, b. at Lyons. 1700-30. (_See_ p. 105.) + + BORBON (Bourbon), Gaspar. End of sixteenth century; Brussels; + Gaspar model. + + BORELLI, Andreas, 1730-47; Parma; Guadagnini model. + + BORLON, François. Antwerp maker, 1680-1710. + + BOUCHER. London, 1764. + + BOULLANGIER, Charles, b. 1823, Mirecourt; d. October, 1888. Learnt + his trade in Mirecourt till 1843; worked with Vuillaume and Gand + and Bernardel, also for Edward Withers, London; good copyist of + Strad. + + BOUMEESTER (Baumeester). Amsterdam maker, 1637-68. + + BOURDET, Jacques. Fair French maker, 1751. + + BOURGARD, Jean. Worked in Nancy about 1780-87. + + BOUSSU. Bruxelles about 1750-80; fairly good Amati pattern. + + BRAGLIA, Antonio. Modena, eighteenth century. + + BRANDIGLIONI. Brescia; copied Maggini. + + BRANDL, Karl. Budapest; exhibited in London Exhibition, 1862. + + BRANZO, Barbaro Francesco. Padua, 1660. + + BREMEISTER, Jan. Amsterdam, 1707. + + BRETON, J. F. Paris, 1740-80. + + BRETON, Le, b. 1780, at Mirecourt. No great value; 1812 to 1830. + + BROSCHI, Carlo. Parma, 1730-44. + + BROWN, James, b. 1755, d. Sept. 1830. Silk weaver in Shoreditch, + London; pupil of Thomas Kennedy; chiefly a repairer of instruments. + + BROWN, James, jun., son of the above; both father and son fair + workmen; b. Nov. 1786; d. 1860, at White Lion Street, Norton + Folgate; apprenticed to his father, but was principally employed to + make bows. + + BROWN, son and pupil of James Brown, jun. When about twenty years + old, ceased to make instruments. + + BROWNE, John. Cornhill, London, 1743; copied Nicholas Amati. + + BRUBACH, Antoine, b. Jan. 22, 1847, Mirecourt; head of “Klein et + Cie.,” Rouen. + + BRUGÈRE, Charles Georges, b. Nov. 10, 1865, at Mirecourt; excellent + maker; only labels what he makes himself. + + BRUGÈRE, Charles Malakoff, d. 1894. Son of above; made about 100 + good fiddles; the family still work at Mirecourt. + + BRUGÈRE, François, brother of Charles Joseph Brugère. Had three + sons, all makers. + + BUCHSTADTER (Buchstetter), Gabriel David. Ratisbon, 1752; Cremona + flat pattern; good orchestral instruments. + + BUDIANI, Giavetta. Some of his large bass viols adapted for + double-basses with four strings; contemporary of G. P. Maggini. + + BUONFIGLIUOLI, Pier Francesco. Florentine, seventeenth century. + + BURGLE, Johann. A maker in Griezbach, 1828. + + BUSAS, Domenico. Vicenza, 1740. + + BUSSETO (Buseto), Giammaria del. Cremonese viol-maker, 1540-80; + said to have taught Andrea Amati. + + BUSSOT. Paris, 1788. + + BUTHOD. Cheap Mirecourt maker; good strong fiddles fit for + orchestral use; turned out about 900 instruments a year; + contemporary of Vuillaume. + + + CABROLI, Lorenzo. Milan about 1716; indifferent. + + CABROLY. Toulouse about 1740-47; fair. + + CAESTE, Gaetano. Cremona in 1677. + + CAESTO (Caesta), Pietro Antonio della. Treviso, 1660-80; copied + Strad. + + CAHUSAC. London about 1788. Worked with Banks’s sons. + + CALCANI (Calcagni), Bernardo. In Genoa, 1710-50; copied Strad + carefully and with good effect. + + CALONARDI, Marco. Cremona, seventeenth century. + + CALOT (Callot), b. 1810. Paris and Mirecourt; fine workman: good + tone. + + CALVAROLLA, Bartolommeo, of Torre Baldone (Bergamo). About 1753-67, + Bologna and Bergamo; fair. + + CAMILLI, Camillus (Camilus di Camila). Mantua about 1739-50; copied + Strad; resembles also Landolfi; excellent tone. + + CAMILLIO, Davido. Cremona, 1755. + + CAPPA, Giofredo (Goffredo), 1590-1640. Worked with the Amatis; + unequal in work; his instruments have often been cut down. + + CAPPA, Giachimo (Gioacchino) and Giuseppe. Working in Saluzzio, and + in Turin about 1661-1712; indifferent. + + CARCASSI, Lorenzo Francesco and Tommaso. Florence, about 1735-58; + not first-rate. + + CARLO, Giuseppe. Milan, 1769. + + CARLOMORDI, Carlo. Verona in 1654. + + CARON. Versailles, 1775-85. Maker to the Queen; not remarkable. + + CARTER, John. Worked in London, 1780-90, for John Betts. Good; + often sold for Betts’. + + CASINI (Cassini), Antonio. Modena about 1660 to 1700. Made large + violoncellos; fair. + + CASPAN, Giampietro. Venice about 1650; Amati pattern; violins + small, yellow varnish. + + CASSANELLI, Giovanni. Ciano in 1777. + + CASSINEAU. Paris; maker of all sorts. + + CASTAGNERY (Castagneri), Andrea. Worked in Paris, 1732-57; he made + good instruments. + + CASTAGNERY (Castagneri), Gian Paolo. A maker from Cremona, who + worked in Paris about 1630-62; very good and sweet tone. + + CASTELLANI, Luigi, son of Pietro Castellani. Florence, 1809-84; + good restorer of fiddles, but made none. + + CASTELLANI, Pietro, b. Florence, second half of the eighteenth + century. Made only a few violins. + + CASTELLO, Paolo. Genoa about 1750-80; fair. + + CASTRO. Worked in Venice, 1680-1720; indifferent appearance, but + good wood. + + CATENAR (Catenari), Enrico. Turin about 1670; fair; a follower of + Cappa. + + CATI, Pier Antonio. Florence, 1741; famous for his “kits.” + + CAVALORIO. Geneva, 1725. + + CELLINI, Giovanni, the father of Benvenuto Cellini, b. in Florence; + d. there of the pest, 1527 or 1528. Architect; lute and viol maker. + His viols, made about 1500-5, had a great reputation. + + CELONIATI (Celionati), Giam Francesco, 1732. Good maker; Amati + pattern; yellow varnish. “Joannes Franciscus Taurini, anno 1732.” + + CERIN, Marc Antonio. A maker in Venice, 1780-93; pupil of Anselmo + Bellosio; fair maker. + + CERUTI, Enrico, son of Giuseppe Ceruti; b. 1808; d. Oct. 20, 1883. + Cremona, at 14 Via Borgo Spera; made about 365 instruments; much + esteemed in Italy. + + CERUTI, Giovanni Battista, 1755, Cremona; d. 1817. Pupil of Lorenzo + Storioni; good; made about 500 instruments; varnish yellow. + + CERUTI, Giuseppe, son and successor of Giovanni Battista, 1787; d. + 1860, Mantua. Fair maker; chiefly repairer. + + CHALLONER, Thomas. Worked in London in the eighteenth century. + + CHAMPION, Jean Baptiste. Paris in 1783. + + CHAMPION, René. Paris, 1731; finished and graceful; varnished like + Boquay. + + CHANOT, François, son of a musical instrument maker in Mirecourt; + b. 1787, d. 1828. (_See_ p. 112.) + + CHANOT, Georges, a brother of François; b. March 26, 1801; d. Jan. + 10, 1883. + + CHANOT, Georges, son of Georges Chanot. + + CHANOT, G. A. Manchester. + + CHAPPUY (Chapuy), Nicolas Augustin. Paris about 1732-76; fairly + good; badly varnished. Fr. Habeneck played on one of his violins + for many years. + + CHARDON, Marie Joseph, son-in-law and pupil of Georges Chanot, + sen.; b. May 22, 1843, Paris. He succeeded his father-in-law in + 1872; good maker; better restorer. + + CHARDON, Marie Joseph Antoine Georges. Worked under his father. + + CHARLE. Paris in 1748. + + CHARLES, Theress. From Mirecourt, but settled in London, in King + Street, Soho. + + CHAROTTE. Mirecourt; d. 1836; settled in Rouen in 1830; indifferent. + + CHATELAIN, François. About 1777-91; good maker; collaborated + sometimes with Renault. + + CHÉRON, Nicolas. Paris, 1658-91. + + CHERPITEL, Nicolas Emile. Mirecourt, 1841-93; worked with the Gands + at Paris; very good workman. + + CHEVRIER, André Augustin, b. in Mirecourt. Paris, and then in + Brussels, 1838. + + CHIAVELLATI, Domenico. Lonigo in 1796. + + CHIBON, Jean Robert. Paris, 1775-85; indifferent. + + CHIOCCHI (Chiocci), Gaetano. In Padua nineteenth century; good + maker and repairer. + + CHRÉTIEN, Hippolyte, 1845-89. Lyons; excellent maker and restorer. + + CHRISTA, Joseph Paul. About 1730-40. + + CHRISTOPHLE, Jean. Avignon, 1655. + + CLARK. London, living at Clerkenwell. A pupil of Matthew Furber. + + CLAUDOT, Augustin. Paris, beginning of eighteenth century; large + pattern, yellow varnish; wood good, work carefully finished; + branded his instruments with his name, “Augustin Claudot.” + + CLAUDOT, Charles. Paris; but probably came from Mirecourt; + indifferent. + + CLÉMENT. Paris, about 1815-40, in the rue des Bonnes-Enfants; a + good deal sought after. + + COFFE-GOGUETTE. Mirecourt, 1834; excellent maker; fine tone. + + COLE, James. Manchester; pupil of Tarr and George Crask, 1858. + + COLE, Thomas. London about 1672-90; good tenor maker. + + COLLIER, Samuel. London, at “Corelli’s Head” on London Bridge, + about 1750-55. + + COLLIER, Thomas. London, 1775. + + COLLIN, Claude Nicolas. Mirecourt; d. 1864; pupil of N. F. + Vuillaume, Brussels. + + COLLIN-MÉZIN, Charles Jean Baptiste, son of C. N. Collin. + Mirecourt, 1841-89; excellent maker and restorer; good Strad and + Amati copyist. + + COLLINGWOOD, Joseph. Worked in London about 1760, at the “Golden + Spectacles” on London Bridge. + + CONTRERAS, Joseph, 1710-80. Madrid or “Granadino”; beautiful Strad + copyist; has passed for Strad. + + CONTRERAS, son of Joseph Contreras. + + CONWAY, William. London about 1745-50. + + CORDANO, Jacopo Filippo. Genoa about 1774. + + CORNELLI, Carlo. Cremona, 1702. + + CORSBY, George. London; believed to be a brother of Corsby of + Northampton. + + CORSBY. Northampton about 1780; chiefly made double-basses. + + COSTA, Agostino. Brescia and Venice in the seventeenth century. + + COSTA, Marco della. Treviso, 1660-80. + + COSTA, Pietro Antonio della. Worked in Treviso about 1740-65; fair + Amati model. + + COUSINEAU, Georges, 1753-1824. In 1788 was entitled “Luthier de la + reine”; made all sorts of instruments. + + CRAMOND, Charles. A maker in Aberdeen, 1821-34. + + CRASK, George. Worked in various places, Salford, Manchester, etc.; + prolific worker; Italian pattern. + + CROSS, Nathaniel. London about 1700-51. (_See_ p. 125.) + + CROWTHER, John, 1755-1810. He worked occasionally for John Kennedy. + + CUCHET, Gaspard, 1729. + + CUNAULT, Georges, b. 1856, Paris; Miremont, 1874-82; a good workman. + + CUNY. Paris about 1740. + + CUTHBERT. Maker of viols and violins in London, seventeenth + century; fair. + + CUYPERS, Johannes. The Hague about 1779. + + + DANIEL. Antwerp about 1636-56; two specimens in Antwerp Cathedral. + + DANIEL, Charles. Marseilles in 1762. + + DARCHE, C. F. Brussels; was a pupil of N. F. Vuillaume (a brother + of the Parisian maker); better restorer than maker. + + DARCHE, Nicholas. Aix-la-Chapelle. + + DAVID. A contemporary of Pierray; Paris about 1730; indifferent. + + DAVIDSON, Hay. Huntly, 1870. + + DAVIS, Richard. London; employed by Norris and Barnes; but when + Norris died in 1818, he succeeded to the business. He knew little + of violin-making, and always remained more of a dealer in, than a + maker of, instruments. + + DAVIS, William. London (in 1846 sold business to Edward Withers); + restored violins; Maucotel worked for him. + + DAY, John. Ingenious amateur maker, devoted to reproduction of + Cremonas, nineteenth century. + + DEARLOVE, Mark. Leeds, 1812-20. + + DEARLOVE, Mark William, son of Mark Dearlove. Leeds, 1828-62; + employed good workmen--Absam, Gough, Fryer. + + DECOMBE (not De Comble). Paris, eighteenth century. + + DE COMBLE, Ambroise, b. at Tournai, Belgium, end of the seventeenth + century; worked till 1760; said to have been a pupil of Antonio + Stradivari at Cremona; instruments scarce, well made, of excellent + wood, and have a rich tone. + + DECONET, Michele. Venice about 1742-79; Cremona school. + + DEFRESNE, Pierre. Rouen, 1730. + + DEHAYE (Deshayes), nephew and only pupil of Salomon, 1775-1825, + Paris; more dealer than maker; sold all sorts. + + DEHOMMAIS, 1870. Successful amateur maker. + + DE LANNOY, N.J. Lille about 1740-75; fair maker. + + DELANOE, Pierre Jean. Paris, 1754. + + DELANOIX. Brussels about 1760; good maker. + + DELANY (Delaney), John. Dublin in 1808; an original egotist, 1808. + Label bears: “Made by John Delany, in order to perpetuate his + memory in future ages. Dublin, 1808. Liberty to all the world, + black and white.” + + DELAU, Lucien, 1836-48. On the death of Charotte he joined Jeandel + in violin-making, and they continued the business at Rouen. + + DENNIS, Jesse, 1795-1855. London; apprenticed to John Crowther, + 1805; worked under Matthew Furber. + + DERAZEY, J. Mirecourt; successor to J. Nicolas, jun.; sold his + fiddles; made good cheap ones, from 5 to 150 francs; a prolific + firm. + + DEROUX, Sébastien. Mirecourt and Paris; b. 1848; making in 1898; + good restorer; best Cremona models. Signs: “A. S. D.” + + DESCHAMPS, Claude. Paris, 1783-85. + + DESJARDINS. Caen, 1763. + + DESPONS, Antoine. Paris about 1610; rare, but not very good. + + DESROUSSEAU. Eighteenth century. + + DEVEREUX, John. He worked with B. Simon Fendt in London; migrated + to Melbourne. + + DICKENSON (Dickinson), Edward. Strand, London, about 1750-90; + Stainer model; inferior. + + DICKESON (Dickson), John, b. in Stirling. London and Cambridge, + about 1750-80; excellent. + + DIDELIN, Joseph. Nancy, 1765-75; poor maker. + + DIDION, Gabriel. Mirecourt; d. 1881. + + DIEHL (or Diel, as it was originally spelt). Friedrich, son of + Nicolaus Diehl; 1814-67; Darmstadt; fair. + + DIEHL (Diel), Heinrich, a son of Johann Diehl. + + DIEHL (Diel), Jacob, son of Nicolaus Diehl; d. 1873; Bremen in + 1834, then Hamburg. + + DIEHL (Diel), Johann, a brother of Nicolaus Diehl. Mayence. + + DIEHL, Martin. Mayence, eighteenth century; work poor. + + DIEHL (Diel), Nicolaus, b. 1779, d. 1851. Son of Martin Diehl, to + whose business he succeeded. + + DIEHL (Diel), Nicolaus Louis, d. 1876. Was a son of Jacob Diehl; + worked in Hamburg; he published a work on Italian violin-makers. + + DIEULAFAIT. A viol-maker; Paris in 1720. + + DINI, Giambattista. Lucignano in 1707. + + DITTON. London about 1700. In Thomas Britton’s Collection was a + “good violin by Ditton.” + + DODD, Edward, b. 1705, Sheffield; d. 1810, London, at the age of + 105. First bow-maker of this name. He lived in Salisbury Court, + Fleet Street; buried in St Bride’s Church. + + DODD, James, second son of Edward. Also made bows. + + DODD, James, son of James Dodd, sen.; was a good bow-maker. + + DODD, John, eldest son of Edward Dodd; b. 1752. (_See_ p. 116.) + + DODD, Thomas, third son of Edward Dodd. Employed Bernhard Fendt and + Lott; proud of his varnish; an all-round man, and dealer in all + sorts of instruments; violoncellos fetch £50. + + DODD, Edward and Thomas, sons of Thomas Dodd, sen. Both learnt from + Bernhard Fendt, and carried on the business at St Martin’s Lane. + + DOMINICELLI (Domincelli). Ferrara, 1695-1715; studied in Brescia; + copied the Amati pattern; varnish of a golden colour. + + DOMINICHINO, Giuseppe. Verona, 1700; Amati pattern. + + DONATO, Serafino. Venice, 1410-11. + + DONI, Rocco. A priest in Florence, 1600-60; made lutes and violins. + + DOPFER (Döpfer), Nicolaus. Mayence (?) about 1768; instruments well + made, slightly arched; sound-holes small but well cut, varnish + brown. + + DORANT, William. Spitalfields, 1814. + + DORFFEL (Dörffel), Johann Andreas. A violin and lute maker in + Klingenthal, Saxony, in 1743. + + DRINDA, Giacomo. Pianzo, eighteenth century. + + DRÖGMEYER, Hermann August. Bremen; wrote a book on violins, 1891. + + DROULEAU or Droulot. Paris, 1788-1800. + + DROUYN, Dimanche. Paris. + + DUCHÉRON, Mathurin. Contemporary of Boquay, working in Paris in + 1714. + + DUIFFOPRUGCAR (Duiffoproucart), Gaspard, 1514. (_See_ p. 18). + + DUKE, Richard. London about 1750-80. (_See_ p. 132.) + + DUKE, Richard, son of Richard Duke. + + DULFENN, Alexander. Leghorn in 1699. + + DUMÉNIL, N. Paris, 1786. + + DUMESNIL, Jacques. Paris about 1655-60. + + DUNCAN. Aberdeen, 1762. + + DUNCAN, George. Glasgow, 1887. + + DURFEL (Dürfell), J. G. Altenburg, 1778; double-basses excellent; + violins very arched; muddy dark brown varnish. + + DU RIEZ, Nicolas. A good French maker; Abbeville, 1663. + + + EBERLE, Johann Ulrich. Prague about 1730-60; good Cremona copyist. + + EBERTI, Tommaso. Italian maker about 1730-50. + + EDLINGER, Thomas, b. in Bohemia, and was living in Prague 1712-15. + Good. + + EGLINGTON. London in 1802; fair tone. + + ELÉMENT, Jean Laurent. Paris in 1783. + + ELSLER (Esler), Johann Joseph. Mayence about 1715-30; bass viol + maker; transition on verge of the violin. + + EMILIANI, Francesco de. Rome about 1715-20; fine workman; yellow + varnish. + + ENGLEDER, Andreas, Munich, 1854; an original designer. + + ENGLEDER, Ludwig. Bamberg, 1854; German pattern; fair tone. + + ERNST, Franz Anton, b. Dec. 3, 1745, Georgenthal, Bohemia; player + and maker; Stradivari pattern, and some say approached Stradivari + tone. + + EULRY-CLÉMENT. Mirecourt, 1800. + + EURY. About 1810-30, Paris; an excellent bow-maker, 1820. He was + working at 20 rue des Lyonnais-Saint-Jacques in 1820. His bows are + justly celebrated, and are thought to rival even those of François + Tourte. He generally marked them with his name. + + EVANGELISTI. Florence, eighteenth century. + + EVANS, Richard. London about 1742-50. + + EVE, Jacques. German model, arched; brown varnish; good workman. + + + FABRIS, Luigi. Venice in nineteenth century. + + FACINI, Agostino. A monk at Bologna, 1732-42; delicate workman; + yellow varnish. + + FALAISE. French follower of Pique; Cremona pattern; yellow varnish. + + FARINATO, Paolo. Venice about 1700-30; fair maker, Serafino pattern. + + FEBBRE. Amsterdam in 1762. + + FENDT, Bernhard. (_See_ p. 132.) + + FENDT, Bernhard Simon. (_See_ p. 132.) + + FENDT, Francis, fourth son of Bernhard Fendt. (_See_ p. 132.) + + FENDT, François, best known in France as Fent. + + FENDT, Jacob, third son of Bernhard Fendt. + + FENDT, Martin, second son of Bernhard Fendt. + + FENDT, William, second son of Bernhard Simon. + + FERATI, Pietro. Sienna, 1754-64; poor maker. + + FÉRET. A pupil of Médard; Paris, 1708; good maker. + + FERGUSON, Donald. Huntly, Aberdeenshire. + + FERGUSON & SON. Edinburgh, beginning of the nineteenth century. + + FERRARI, Agostino. Budrio (Italy), eighteenth century. + + FERRARI, Alfonso. Carpi (Modena), 1738. + + FERRARI, Carlo. Sienna in 1740. + + FEURY or Ferry, François, son-in-law of Leclerc the violin-maker. + Paris about 1750-60; violins small pattern, the sound-holes small, + varnish red, work good. + + FICHTL, Martin. Vienna, 1750-57; careful in wood and varnish. + + FICKER, Johann Christian. Cremona, 1720-22; German style. + + FICKER, Johann Gottlieb. Cremona about 1788-89. + + FIKER, Johann Christian. Neukirchen (Saxony), eighteenth century. + + FIORILLO, Giovanni. Ferrara, 1780; German and Italian patterns; + violoncellos are best. + + FIORINI, Giuseppe, son of Raffaele Fiorini, b. 1867. Excellent + maker. + + FIORINI, Raffaele, b. at Pianoro. Worked at Bologna. + + FIRTH, G. Leeds, 1836; pupil of William Booth, sen. + + FISCER, Carlo and Giuseppe, brothers. Milan about 1760-64; inclined + to German style, but good varnish. + + FISCHER, Anton, b. 1794, d. 1879. Vienna. + + FISCHER, Zacharie, b. Nov. 5, 1730, Würzburg; d. there Nov. 27, + 1812; first began baking his wood to age it; his violins are still + liked. + + FLEURI (Fleury), Jean François. Paris, 1783-85. + + FLEURY, Benoist. Paris, 1751-91; fair maker. + + FLORENUS (Florinus), Guidantus or Florentus. Bologna about + 1700-60; far from first-class. + + FONCLAUSE, Joseph (called “Le Mayeux”), b. 1800 à la Conté; d. + 1865, Paris. Mirecourt, and employed by Vuillaume. + + FORCHEVILLE, J. Baptiste. Early pochette-maker. + + FORSTER (Foster or Forrester), John, b. Kirkandrews, on the Esk. + + FORSTER, Simon Andrew, son of William Forster (1764-1824). (_See_ + p. 126.) + + FORSTER, William, son of John Forster; b. 1713-14; d. 1801. (_See_ + p. 126.) + + FORSTER, William (“Old Forster”), son of William Forster + (1713-1801). (_See_ p. 126.) + + FORSTER, William (“Young Forster”), son of William Forster + (1739-1808). (_See_ p. 126.) + + FORSTER, William, eldest son of William Forster, 1764-1824. (_See_ + p. 126.) + + FRAISER, Giorgio. Cremona, 1666; worked for Nicola Amati. + + FRANCK. Ghent, 1800-30; chiefly a clever repairer. + + FRANKLAND. London, 1785; employed by the William Forsters. + + FREBRUNET, Jean. Paris 1750-60; good maker; yellow varnish. + + FRITSCHE (Fritzche), Samuel. Leipzig, 1787; pupil of C. H. Hunger; + good maker (Cremona model) and fine repairer. + + FRYER, Charles. London and Leeds, 1830-40. + + FURBER, David. Pupil of John Johnson (1750-60), a maker in London. + (_See_ p. 234.) + + FURBER, Henry John, son and pupil of John Furber. + + FURBER, James, first son of Matthew Furber, sen. + + FURBER, John, third son of Matthew Furber, sen. + + FURBER, Matthew, sen., son of David Furber. + + FURBER, Matthew, second son of Matthew Furber, sen. + + + GABRIELLI, Antonio. Florence, 1760; good violins. + + GABRIELLI, Bartolommeo. Florence about 1730. + + GABRIELLI, Cristoforo. Florence, 1730. + + GABRIELLI, Giovanni Battista. Florence, 1740-70; good tone, + excellent wood, yellow varnish; his violoncellos and altos + considered best. + + GAETANO, Antoniazzi, b. Aug. 7, 1825, Cremona; good maker, has + gained medals of honour; his sons, Ricardo and Romeo, work with him. + + GAFFINO, Giuseppe. An Italian, worked in Paris, 1745-83; careful + maker. + + GAGLIANO (Galiano), Alessandro, b. 1640. (_See_ p. 89.) + + GAGLIANO, Antonio, son of Giovanni, grandson of Nicola. (_See_ + “Raffaele Gagliano.”) + + GAGLIANO, Ferdinando, eldest son of Nicola, grandson of Alessandro. + (_See_ p. 89.) + + GAGLIANO, Gennaro, second son of Alessandro, brother of Nicola; + b. about 1680, at Naples; d. 1750. He was the best maker of this + family. + + GAGLIANO, Giovanni, fourth son of Nicola, nephew of the great + Gennaro; d. 1806. + + GAGLIANO, Giuseppe and Antonio, second and third sons of Nicola; + lived at Naples. + + GAGLIANO, Nicola, eldest son of Alessandro; b. about 1675, at + Naples; d. there about 1745. + + GAGLIANO, Raffaele and Antonio, sons of Giovanni, grandsons of + Nicola. + + GAILLARD-LAJOUE, J. B. Mirecourt; d. about 1870; first an + apprentice and then first workman in the workshop of Gand; fair + maker. + + GAIROUD, Louis. Nantes about 1740. + + GALBANI, Piero. Florence in 1640. + + GALBICELLIS, G. B. Florence, 1757. + + GALBUSERA, Carlo Antonio. Follower of Chanot; made a guitar-shaped + model; violins much praised, but little known now. + + GALERZENA. Piedmont, 1790. + + GALLAND, Jean. Paris, rue St-Honoré, about 1744-50. + + GALRAM, Joachim Joseph. Lisbon in 1769. + + GAND, Charles Adolphe, eldest son of Charles François Gand; b. Dec. + 11, 1812, Paris; d. Jan. 24, 1866. + + GAND, Charles François, eldest son of Charles Michel Gand; b. Aug. + 5, 1787, Versailles. (_See_ p. 108.) + + GAND, Charles Michel, the head of the Gand family; b. 1748, at + Mirecourt; d. 1820, Versailles. + + GAND, Charles Nicolas Eugène, second son of Charles François Gand; + b. June 5, 1825, at Paris; d. Feb. 5, 1892, Boulogne-sur-Seine. + + GAND, Guillaume, second son of Charles Michel Gand, 1792-1858. + + GARANI (Garana), Michelangelo. A maker in Bologna about 1680 to + 1720; small value. + + GARANI, Nicola. 1700. Fair instruments, Gagliano pattern; plain + wood, yellow varnish. + + GARENGHI, Giuseppe. Brescia, 1857. + + GASPARO DA SALÒ, son of Francesco Bertolotti, b. 1542. (_See_ p. + 30.) + + GATTANANI. Piedmont, 1785-90. + + GATTINARI. Enrico. Turin, 1670-75. + + GATTINARI, Francesco, son of Enrico Gattinari. Good maker, 1700-5; + red varnish. + + GAUTROT. Mirecourt, 1855. + + GAVINIÉS (Gavaniès), François. 1700-63, Bordeaux; 1730 Paris, and + was living in Rue St-Thomas-du-Louvre, 1734-63. Unequal maker of + violins, some cheap and poor, others very superior. + + GEDLER, Johann Anthony and Johann Benedict. Fussen, Bavaria, about + 1750-96. Poor violins. + + GEISENHOF (Geiffenhof, Geigenhof), Franz, b. 1754; d. 1821. Fairly + good. + + GEMÜNDER, August, b. 1814, Würtemberg; d. Sept., 1895, New York. + Excellent maker, fine copyist. + + GEMÜNDER, George, brother of August Gemünder, b. 1816 in Würtemberg. + + GERMAIN, Emile, son of Joseph Louis Germain. Turin, 1870-88. + Studied at Mirecourt. Prolific maker, good varnish, fair tone, fine + repairer. + + GERMAIN, Joseph Louis, b. July 23, 1822, Mirecourt, 1868; worked + with F. Gand family and B. Vuillaume. Excellent maker and repairer. + + GERONI, Domenico. Ostia, Italy, about 1800-20. Inferior. + + GHERARDI, Giacomo. Bologna, 1677. + + GHIDINI, Carlo. Parma, about 1746. + + GIANOLI, Domenico. Milan, 1731. + + GIBBS, James. London, 1800-45. Was employed by J. Morrison, George + Corsby, and Samuel Gilkes. + + GIBERTINI, Antonio. Parma, 1830-33. Stradivari pattern. Employed by + Paganini as a repairer. + + GIGLI, Julio Cesare. Rome, 1730-62. + + GILBERT, Nicolas Louis. Metz, 1700. + + GILBERT, Simon, son of Nicolas Louis Gilbert. Metz, about 1737. + + GILKES, Samuel, 1787-1827. Morton Pinkney, Northamptonshire. + London. Worked for William Forster (1764-1824). Nicola Amati + pattern; clever maker. + + GILKES, William, son of Samuel Gilkes, about 1811-75, in Grey + Coat Street, Tothill Fields, Westminster, London. Prolific maker; + chiefly double basses. + + GIOFFREDA, B. Turin, in 1860. + + GIORDANO (Giordane), Alberto. Cremona, about 1735-40. + + GIORGI, Nicola. Turin, 1745. + + GIRANIANI. Leghorn, 1730. + + GIRON. (_See_ “Villaume.”) + + GIULIANI. Cremona, 1660. Pupil of Nicola Amati. + + GOBETTI, Francesco. Venice, 1705. A pupil of Antonio Stradivari. + Alleged fine wood, varnish, and tone. + + GOFFRILLER (Gofriler), Antonio. Venice, 18th century. + + GOFFRILLER, Francesco. Venice. Fair maker; yellow-brown varnish. + + GOFFRILLER, Matteo. Venice, 1690-1740. Careless in wood but careful + in work; yellow varnish; arched pattern violin excellent. + + GONNET, Pierre Jean. Paris, 1775-83. + + GOSSELIN. An amateur maker in Paris about 1814-30. + + GOSSET. Rheims, 1769. + + GOUVERNARI, Antonio. Cremona, 1600-10. + + GRABENSEE, J. A. Düsseldorf, about 1850-55. + + GRAGNANI, Antonio. Leghorn, about 1741-80. Rough workmanship; + inferior wood; sweet tone. + + GRAGNANI, Gennaro. Leghorn, 1730. + + GRAGNANI, son of Antonio Gragnani. Inferior to his father. + + GRANCINO, Francesco and Giam Battista, sons of Giovanni and + grandsons of Paolo Grancino. 1710-60. (_See_ p. 90.) + + GRANCINO, Giovanni, son of Paolo Grancino. Milan 1690-1730. + + GRANCINO, Paolo. Worked at Milan, 1665-90. Pupil of Nicola Amati at + Cremona. + + GRAND-GÉRARD. Vosges, 1790-1810. Also Paris. Prolific but inferior. + + GRANDINI, Geronimo, sen. Mirecourt. Some merit. + + GRANDJON, sen. Mirecourt. + + GRANDJON, J., son of Grandjon, sen. Mirecourt. Fair maker. + + GRAY, J. Fochabers, Banffshire, Scotland, in 1870. + + GREFFTS, Johann. Fussen, Bavaria, in 1622. + + GREGORI. Bologna, 1793. + + GRIMM, Carl, b. about 1792; d. 1855, Berlin. One of the best German + makers. + + GRIMM, Ludwig, son of Carl Grimm. + + GRISERI, Filippo. Florence in 1650. + + GROBITZ, A. Warsaw in 1750. Good violins on the Stainer pattern. + + GROLL, Matthew. Meran, Tyrol, in 1800. + + GROSSET, Paul François. Paris, 1747-59. Pupil of Claude Pierray. + Inferior. + + GROSSI, Giuseppe. Bologna in 1803. + + GROU. 1752. + + GRULLI, Pietro. Cremona, 1883. + + GUADAGNINI, Antonio, son of Gaetano, grandson of Carlo Guadagnini, + b. 1831; d. 1881 at Turin. (_See_ p. 86.) + + GUADAGNINI, Felice, son of Carlo Guadagnini. Turin, 1835. + + GUADAGNINI, Francesco and Giuseppe, sons of Antonio Guadagnini. + Turin. + + GUADAGNINI, Gaetano, son of Giambattista, grandson of Lorenzo. + Turin about 1750. + + GUADAGNINI, Gaetano. (_See_ “Carlo Guadagnini.”) + + GUADAGNINI, Giambattista, son of Lorenzo, b. 1711 at Cremona; d. + Sept 18, 1786, at Turin. + + GUADAGNINI, Giovanni Battista, brother of Lorenzo Guadagnini. + Milan, Piacenza, and Turin about 1695-1775. + + GUADAGNINI, Giuseppe, second son of Giambattista, grandson of + Lorenzo, b. 1736; d. about 1805. + + GUADAGNINI, Giuseppe. (_See_ “Carlo Guadagnini.”) + + GUADAGNINI, Giuseppe. (_See_ “Francesco Guadagnini.”) + + GUADAGNINI, Lorenzo. b. at Piacenza (?) about 1665. A pupil of + Antonio Stradivari at Cremona. + + GUARINI, Joseph. Germigny, Vosges. Good violins, double purfle, + powerful tone. + + GUARNERI, Andrea. b. about 1626 at Cremona; d. there Dec. 7, 1698. + (For the Guarneri family, see p. 51.) + + GUARNERI, Caterina (?), daughter of Andrea. + + GUARNERI, Gian Battista, son of Bernardo, younger brother of Andrea. + + GUARNERI, Giuseppe, known as “del Gesù,” the greatest of the + family. (_See_ p. 51.) + + GUARNERI, Giuseppe Giovan Battista, second son of Andrea. b. Nov. + 25, 1666, Cremona; d. soon after 1738. + + GUARNERI, Pietro, son of Giuseppe Giovan Battista Guarneri, + grandson of Andrea, b. April 14, 1695. 1760. + + GUARNERI, Pietro Giovanni, eldest son of Andrea. b. Feb. 18, 1655, + at Cremona; d. about 1740. + + GUÉDON, Jacques Antoine. Paris, 1775-77. + + GUÉRIN, Alexandre Sauveur, 1834-88, Hyères. Pupil and successor of + Edmond Daniel; works at Marseilles; repairs old instruments and + makes new ones on the pattern of Stradivari; much admired. + + GUERRA, Giacomo. Modena, 1810. + + GUERSAN, Louis. A maker in Paris about 1730-69; one of the best + French makers; great experimentalist; used spirit varnish. + + GUGEMMOS (Gugemos). Fussen, Bavaria. Eighteenth century; poor maker. + + GUGLIELMI, Giobattista. Cremona, 1747. + + GUIDANTUS, Joannes Florenus. Bologna, 1685-1728. + + GUIDOMINI, Lorenzo. Milan, 1740. + + GUILLAMI. A Spanish family, 1680-1780. + + GUITON, R., of Cork. Good. + + GUSETTO, Nicola. Florence, 1730. + + GUTERMANN. Vienna, nineteenth century. Good. + + + HAENSEL, Johann Anton. Was maker and musician to the Duke of + Schönburg at Rochsburg, 1800-15. + + HAFF. Augsburg, eighteenth century. + + HAMBERGER, Joseph. Pressburg, Hungary. Firm still maker at Vienna. + + HAMM, Johann Gottfried. A German who worked in Rome about 1810; + violins ivory edged. + + HAMMIG, W. H. Leipzig, tenth century; good work. + + HARBOUR or Harbur. A maker, London, 1785. + + HARDANGER. Norway. + + HARDIE, James & Sons. Edinburgh, 1837-90. Industrious makers and + exhibitors. Maggini, Stradivari, and Guarneri models. + + HARDIE, Matthew, 1825, and Thomas, 1856. Good violins, violas, and + violoncellos on the Amati pattern. + + HARDIE, Peter. Dunkeld, 1773-1863. Excellent violoncellos. + + HARE, Joseph (or John), 1700-30. Reacted against Stainer pattern in + favour of Stradivari. London, 1726. + + HARHAM. London, 1765-85. + + HARMAND. Mirecourt in 1772. + + HARRIS, Charles. London, 1780-1800. Seldom labelled; his work good, + especially ’cellos, Stradivari and Amati pattern; red varnish. + + HARRIS, Charles, eldest son of Charles Harris. Worked for John + Hart, nineteenth century; yellow varnish. + + HART, John Thomas, 1805-74, London. Pupil of Samuel Gilkes; made + few instruments; reputation for experience and skill in repairing. + + HASSERT. Eisenach, eighteenth century. Good instruments, not much + arched, beautiful wood, amber-coloured varnish; good copyist. + + HASSERT. A brother. Eisenach, 1790, in Rudolstadt. Instruments too + much arched; rather harsh tone. + + HAYNES, Jacob. London, 1746. Stainer pattern. + + HEBERLEIN, Heinrich, jun. Clever maker in Markneukirchen, + nineteenth century. + + HEESOM, Edward. London, 1748-50. Stainer pattern. + + HEIDEGGER. Passau. + + HEL, Pierre Joseph, 1842-95. Seven years in Mirecourt, then + with Sébastien Vuillaume in Paris, and Nicolas Darche at + Aix-la-Chapelle. In 1865 he started his own business at 14 Rue + Nationale, Lille; full of ingenuity; peculiar methods of seasoning + wood without fire; has received much praise and many honours; a + beautiful maker. + + HELD, J. J., b. July 17, 1823-89, Flamersheim, Rheinbach (Cologne). + Great repairer and careful maker of about sixteen instruments a + year; much esteemed. + + HELL, Ferdinand. Vienna, 1854. Eccentric maker of a trumpet-violin. + + HELMICH. Continued Carl Grimm’s business. + + HENDERSON, D. Aberdeen. + + HÉNOC (or Hénocq), François. Paris, 1775-89. + + HÉNOC (Hénocq), Jean (?Georges Bienaimé). Maker, Paris, 1768 to + about 1790. + + HENRY. Paris. + + HENRY, Carolus, son of Jean Baptiste Henry, 1803-59; prolific + maker; inventor of a barytone fiddle (not a success); a good maker + otherwise. + + HENRY, Eugène, son of Charles Henry, 1843-92; an excellent maker of + fine repairs; business continued by Charles Bruyère. + + HENRY, Jean Baptiste, b. 1757-1831, Mataincourt, Mirecourt + (Vosges). He was the head of the present family of makers. + + HENRY, Jean Baptiste Félix, eldest son of Jean Baptiste Henry. + 1793-1858. Paris. Pupil of his father; in Bordeaux, 1822; in + Marseilles, 1825. In 1844 he returned to Paris. A prolific maker, + but never signed. + + HENRY, Octave, son of Jean Baptiste Félix Henry. 1826-54. Paris. In + Grenoble in 1854; made a great many violins. + + HENRY. A violin bow-maker; 1812 at Mirecourt; 1870, Paris; worked + with Chanot; made excellent bows. + + HILDEBRANDT, Michael Christopher. Hamburg, 1765-1800; good work; + fine repairer. + + HILL, Henry Lockey, son of Lockey Hill; grandson of Joseph Hill; b. + 1774; d. Aug. 1835. (For Hill family see p. 133). + + HILL, John. Red Lion Street, Holborn, 1794. + + HILL, Joseph, b. 1715; d. 1784. He was a fellow-apprentice of + Banks, working at “Y^e Harp and Hautboy,” in Piccadilly, London, + under Peter Wamsley, about 1740-42. Worked till 1772. His sons, + William, Joseph, Lockey, and Benjamin, were all makers. + + HILL, William, son of Joseph Hill. Worked in London about 1740-80. + + HILL, William Ebsworth, son of Henry Lockey Hill, 1817-95. The + present members of the firm are his four eldest sons: William + Henry, b. June 3, 1857, followed the musical profession for + some years before joining his brothers in the business; Arthur + Frederick, b. Jan. 25, 1860; Alfred Ebsworth, b. Feb. 1862, who + worked for some time at Mirecourt (Vosges), and was the first + Englishman to go there to study; and Walter Edgar, b. Nov. 4, + 1871, who also worked at Mirecourt. They employ a large staff of + assistants in their workshops at Hanwell. (_See_ p. 133.) + + HIRCUTT. London about 1600. + + HOCHBRÜCKER. Donauworth, Bavaria, 1699. Later at Augsburg. Made + some violins, but is chiefly known as the inventor of pedals for + the harp, about 1720. + + HÖHNE. Dresden and Weimar. + + HÖRLEIN, Carl Adam, b. 1829-75. Winkelhof, Würzburg; great + reputation both as maker and repairer. + + HOFFMANN, Anton. Courtmaker in Vienna, 1850. + + HOFFMANN, Martin. Leipzig, 1725; in Leipzig from about 1685; + violins and violoncellos of good tone, inelegant pattern; shows + well the transition period between viol and violin by recurrence to + older types of a five-stringed violoncello. + + HOFMANS, Matthias. Antwerp, 1700-50; choice maker in the Cremona + style. + + HOLLOWAY, John. London. 1794. + + HOMOLKA, F. Kuttenberg, Bohemia, 1850; good maker, but wood rather + too thick. + + HOPKINS. Worcester; exhibited a double-bass in London in 1862. + + HORIL, Giacomo. Rome, 1720-50. + + HORNSTEINER (Hornstainer), Joseph. Mittenwald, 1730; good + double-basses; mediocre. + + HORNSTEINER (Hornstainer), Mathias. Maker in Mittenwald, 1770-1800; + better than Joseph. + + HOSBORN, Thomas Alfred. London, 1629. A bass viol exhibited in + Paris, 1878. + + HUET, Henri. Paris, 1775-90; good workmanship. + + HULINSKI. Prague in 1760; instruments were well made; varnish + red-brown. + + HULLER, August. Shœneck, 1735-76. + + HULSKAMP, G. H., b. in Westphalia. Settled in New York, U.S.A. + In the 1862 London Exhibition he exhibited violins made on a new + pattern. Instead of the ordinary sound-holes, was one round hole in + the middle of the violin, just below where the bow sets the strings + in motion; his innovations ineffectual. + + HUMEL, Christian. Nuremberg in 1709. + + HUNGER, Christoph Friedrich, b. 1718, Dresden; d. 1787, Leipzig; + excellent instruments. + + HUREL, Jean. Paris, living in 1686, Rue des Arcis, at the sign of + “A l’image de St Pierre”; from 1689 to 1717, Rue St Martin, near + the Fontaine Maubué. He was maker of instruments “pour la musique + du Roy.” + + HUSSON. _See_ “Buthod.” + + + IVRONTIGNI, Wougelli. Turin. + + + JACOBS, Peeter. Amsterdam, about 1690-1740; prolific maker; + sometimes mistaken for Nicola Amati; grand pattern; whalebone + purfling; sweet tone. + + JACOBS. Amsterdam; probably son of Peeter; used dark red varnish of + good quality. + + JACOT, A., eldest son of Jean Charles. Paris, 19th century. + + JACOT, Jean Charles. Metz, 1811-87. + + JACQUOT (Jacquart), Charles, 1804-80. Mirecourt; much esteemed; + careful finish; a learned connoisseur and successful exhibitor. + + JACQUOT, Etienne Charles Albert, eldest son of Pierre Charles + Jacquot, b. 1853-82, Nancy. + + JACQUOT, Jules Victor, second son of Pierre Charles Jacquot, b. + Aug. 12, 1855. + + JACQUOT, Pierre Charles, son of Charles Jacquot; b. March 10, + 1828-94. Nancy; had a great reputation, and exhibited beautiful + instruments at various Exhibitions; his two sons worked with him. + + JAIS, Johann. Botzen, 1775; varnished brown. + + J’ANSON, Edward Popplewell. Manchester. Learnt from William Booth, + jun. + + JAUCH, Johann, b. Gratz, Styria; in Dresden, 1765-74. Cremona + pattern; learned maker; tone rather harsh. + + JAY, Henry. A maker of viols in London about 1615-67; justly + celebrated, and on the verge of the violin period. + + JAY, Henry. Worked in London about 1746-68. He was best known + for the small violins or “kits” that he made, which were used by + dancing-masters; also made some violoncellos. + + JAY, Thomas. Working in London from about 1690; made some excellent + violins. + + JEANDEL, Pierre Napoleon, 1812-79. Courcelles-sous-Vaudémont + (Meurthe), Rouen, and Paris; red varnish; good tone. + + JOHNSON, John. London, 1750-60. Stainer pattern. + + JOMBAR, Paul, Paris. He worked for Gand and Bernardel; started his + own business in 1892. + + JORIO, Vincenzo. Naples, 1847, Good. + + JOSEPH, J. Vienna, 1764. + + JULIANO, Francesco. Rome, 1620-70. + + + KEMBTER. Dibingen, 1725-30. Varnish yellow or reddish; neat maker. + + KENNEDY, Alexander. Scotland, 1695-1785. Excellent maker; high + repute; spirit varnish, brown; Stainer pattern. + + KENNEDY, John. London, 1816. Buried in Shoreditch Church. Pupil of + Alexander Kennedy. Violins and violas, all very arched; Stainer + pattern. + + KENNEDY, Thomas, 1784-1870, London. Son of John Kennedy. Worked + sometimes for William Forster; made at least 300 violoncellos, as + well as other instruments. Good tone, fine finish. + + KERLINO, Joann. + + KIAPOSSE, Sawes. St Petersburg, 1748-50. + + KIESGEN, Louis. Paris. Fine workman. Pattern of Gand; red varnish. + + KIRSCHSCHLAG. Tyrol, 1780. + + KLEIN, A. In 1884, Rouen. Important firm. Red varnish. High + Exhibition awards. + + KLOSS, Ernst. Breslau. + + KLOTZ (Kloz), Egidius. (_See_ p. 119.) + + KLOTZ, George, son of Mathias and grandson of Egidius Klotz. + Mittenwald, 1750-70. + + KLOTZ, Johann Carl. Mittenwald, about 1740-55. Excellent work; dark + varnish. + + KLOTZ, Joseph, brother of George Klotz. Mittenwald, 1774. Also + followed the Stainer pattern. + + KLOTZ, Mathias, son and pupil of Egidius. 1650. His three sons, + George, Sebastian, and Joseph, were all makers. + + KLOTZ, Michael and Carl, two brothers. Mittenwald about 1770. A + great many of the violins with “Stainer” labels are made by members + of the Klotz family. + + KLOTZ, Sebastian, a brother of Joseph and George Klotz. 1700-40. + The best maker in the family. Large pattern, not much arched; + varnish is excellent, the tone clear and full. + + KLÜHER. Markneukirchen, Saxony. + + KNITTING, Philipp. Mittenwald, 1760. + + KNITTLE (Knitl), Joseph. Mittenwald, 1790. + + KNOOP, Wilhelm. Meiningen. Stainer pattern; good. + + KOEUPPERS, Jean. The Hague, 1755-80. Well-made fiddles; ugly yellow + varnish. + + KOLB, Hans. Bavaria, 1666. + + KOLDITZ, Johann. Rumburg, Bohemia, 1796. Good violins and violas. + + KOLDITZ, Mathias Johann. Munich, 1720-55. + + KOLIKER, Jean Gabriel. Paris, 1783-99. Clever repairer. + + KRAMER, H. Vienna in 1717. + + KRIGGE, Heinrich. Danzig, 1756-58. Maggini pattern, model large + size, neat edges and work, and double purfling in ink. + + KRINER, Joseph. Mittenwald, 1785-95. + + KRUPP, Pierre. Worked in Paris, Rue St Honoré, 1777-91; he also + made harps. + + KÜHLEWEIN UND TETZNER. Makers in Markneukirchen. Exhibited in + Munich, 1854. + + KÜNTZEL. Berlin. He exhibited a quintet of instruments in London, + 1862; tone excellent. + + KUNTZEL, Laurent. 1790. Hof Bavaria and Breslau, 1815-55. Excellent + violins on Italian model. + + + LACROIX, Salomon. Nineteenth century. + + LAFLEUR. London, brother of the Parisian maker. + + LAFLEUR, Jacques. A bow-maker in Paris. Excellent disciple of + Tourte. + + LAFLEUR, Joseph René, son of Jacques. 1812-74. Excellent bow-maker. + + LAFRANCHINI, Jacobo de. Worked for Maggini. + + LAGETTO, Louis. An Italian maker; Paris, 1745-53; early Italian + model. + + LAMBERT. Prolific but indifferent maker. + + LAMBERT, Jean Nicolas. Paris, 1743-85. Not remarkable. + + LAMBIN. Clever repairer in Ghent, 1800-30. + + LAMY, N. Alfred Joseph. A bow-maker; 1850-89, Mirecourt; excellent. + + LANDI, Pietro. Sienna, 1774. + + LANDOLFI, Carlo Ferdinando. Milan, 1740-75. Unequal maker; at his + best often mistaken for Joseph or Peter Guarnerius; £50 outside + price, but rising in value. + + LANTEZ, M. E., son-in-law of Grandjon, sen. Mirecourt. + + LANZA (Lansa or Lausa), Antonio Maria. Brescia about 1675; followed + the patterns of Gasparo da Salò and Maggini; excellent maker. + + LAPAIX, J. A. Lille (Nord, France), 1840-55. Tried many new shapes + with moderate success; industrious and ingenious. + + LAPRÉVOTTE, Etienne. Mirecourt; 1856, Paris. Made good violins; + beautifully finished; also guitars. + + LARCHE. Brussels, 1847. Dyed his fiddles with acids, with usual + result of impoverished tone. + + LARCHER, Pierre. Tours, 1785. Pupil of Guersan, Paris, but work + dissimilar; brown varnish of poor quality. + + LASKA, Joseph. 1738-1805, Prague. Pupil of J. Kolditz; worked for + best makers in Dresden, Berlin, Vienna, and Brünn; his violins + popular in Bohemia, Saxony, and Poland. + + LAUTTEN, L. W. Tyrol. One “fine and handsome” violin known. + + LAVAZZA (or Lacasso), Antonio Maria. Milan about 1700; Stradivari + pattern; good varnish, pale red. + + LAVAZZA, Santino. Was working in Milan at the same time as Antonio + Maria Lavazza. + + LEB. Pressburg, eighteenth century; one of the best German makers + of his time. + + LE BLANC. Family of makers who, through four generations, worked in + Paris, eighteenth century. + + LEBLANC, Claude. Mirecourt, eighteenth century. + + LECLERC, J. N. Paris, 1760-80; good maker and repairer. + + LECOMTE (or Fouquet-Lecomte), Antoine. Paris, 1775-1800. + + LECUYER, Pierre. Paris, 1775-83. + + LEDUC, Pierre. Paris, 1647; one of the oldest makers there. + + LEEB, J. Carl. 1792-1819. Vienna. + + LEFEBVRE (Lefebre), J. B. A Frenchman who worked in Amsterdam, + 1735-70; Amati pattern; yellow varnish. + + LEFÈVRE (Lefebvre). Toussaint Nicolas Germain. Paris, 1783-89. + + LEGROS de la Neuville, Nicolas. French maker, eighteenth century; + guitars, violins, and violoncellos. + + LE JEUNE. A family of makers who for several generations worked in + Paris; nineteenth century. + + LE JEUNE, François. Paris, eighteenth century; violins and viols; + not remarkable. + + LE JEUNE, Jean Baptiste. Made harps and violins in Paris; + eighteenth and nineteenth centuries. + + LE JEUNE, Jean Charles. Paris in 1776; succeeded by his nephew, + Guillaume Martin, in 1822. + + LE JEUNE, Louis. Paris, 1783-89. + + LE LIÈVRE. Paris, 1750-80. + + LEMBÖCK, Gabriel. 1814-92. Budapest; worked with Fischer in Vienna; + copied Guarnerius; much esteemed. + + L’EMPEREUR, Jean Baptiste. Paris, 1750; few instruments. + + LENK, W., b. 1840; 1881, Schönbach bei Eger, Bohemia; worked under + Klüher in Markneukirchen; then Berlin, Breslau, Vienna; finally + settled at Frankfort; fair maker. + + LENTZ (Lenz), Johann Nicolaus. Came from the Tyrol to London; + friend of Bernhard Fendt; varnished like Dodd and J. F. Lott. + + LEONI, Carlo. Treviso, 1861. + + LEONI. Parma in 1816. + + LE PILEUR, Pierre. Paris, 1750-55. Not very good. + + LÉTÉ, Simon, b. about 1768; 1828 made very cheap, good fiddles for + £1; at one time a partner of J. B. Vuillaume. + + LEWIS, Edward. London about 1700. An excellent maker; yellow and + red varnish; in Thomas Britton’s collection was an “excellent tenor + by Mr Lewis” and a “rare good” bass-violin. + + LIEBICH, Ernst, b. Oct. 27, 1796-1876; Stradivari and Guarneri + pattern; he was the father of + + LIEBICH, Ernst. 1830-84, Breslau. Italian pattern. His son, + + LIEBICH, Ernst. 1862-95, Breslau. Excellent repairer; makes few, + but good; best Italian patterns. + + LIEBICH, Johann Gottfried. 1752-1813. + + LIEDOLF, Joseph Ferdinand. Vienna eighteenth century. + + LIGNOLI, Andrea. Florence, seventeenth century. + + LILLY, James. An English maker, 1821. + + LINAROLO (Linerolli), Francesco Giovanni. A family, seventeenth + century; on the verge of the violin period; some of their + instruments have been adapted for tenors. + + LIPPETA, J. G. Neukirchen, Saxony, 1771. + + LIPPOLD, Johann Georg. 1780. Fair maker; brown varnish. + + LOLIO, Giambattista. 18th cent. + + LOLY, Jacopo. Naples, 1627. Pattern of Grancino; yellow varnish; + made large-sized tenors. + + LONGMAN AND BRODERIP, dealers who employed Jay or Benjamin Banks, + and labelled with their own names. + + LORENZINI, Gaspare. Piacenza, eighteenth century. + + LOTT, George Frederick. 1775-1853. + + LOTT, George Frederick. 1800-1868. + + LOTT, John Frederick, son of G. F. Lott. (_See_ p. 219.) + + LOTZ, Theodor. Pressburg. 1730-40. Good violins. + + LOUIS. Geneva. + + LOUVET, Jean, brother of Pierre Louvet. Paris, 1730-60. Made bad + fiddles, but good hurdy-gurdys and harps. + + LUDICI (Ludge), Geronimo Pietro. An amateur maker in Conegliano in + 1709. + + LUGLONI, Giuseppe. Venice in 1777. + + LUPO, Pietro. Antwerp. In 1559 he is said to have sold to a + musician sent by the town of Utrecht, “five violins enclosed in + their case,” for the sum of £72. + + LUPÔT, François, son of Laurent Lupôt. + + LUPOT, Nicolas. The greatest of the family. (_See_ p. 106.) + + + MACGEORGE. Edinburgh, 1800-20. + + MACINTOSH. Dublin, 1830-40. Pupil of Thomas Perry. + + MAFFEOTTO, Giuseppe. Rome, eighteenth century. + + MAGGINI (Magino or Maglino), Gio Paolo. (_See_ p. 32.) + + MAIRE, Nicolas. A violin bow-maker in Paris; 1800, in Mirecourt; + 1878, Paris; apprenticed to Jacques Lafleur; he made excellent bows. + + MALDONNER. Füssen, Bavaria, 1760. + + MANN, Hans. Naples, 1720-50. His instruments are rare; Stradivari + and Guarneri patterns. + + MANTEGAZZA (or Mantegatia), Pietro and Giovanni. Two brothers + working in Milan about 1750-1800; they made many good altos. + + MANTOVANI. Parma, eighteenth century. + + MARATTI, Giambattista. Verona about 1690-1700. Good tone. + + MARCELLI, Giovanni. Cremona in 1696. + + MARCHETTI, Enrico. Turin, nineteenth century. Good maker. + + MARCHI, Giovanni Antonio. Bologna, 1740-95. Good violoncellos and + violins; violins high model; beautiful maple-wood back and sides; + varnish golden yellow. + + MARCO, Antonio. Venice, 1700. + + MARCONCINI, Giuseppe. Pupil of Storioni; Ferrara, where he died at + a great age, 1841; unequal maker; very good sometimes. + + MARCONCINI, Luigi. A pupil of Omobono Stradivari, 1760; Ferrara and + Bologna; good workmanship; pale red varnish. + + MARIANI, Antonio. Pesaro, 1640 to 1700; not of much value; reminds + of Maggini, but rough, purfling double. + + MARINO, Bernardino. Rome. Worked up to 1805. + + MARQUIS DE LAIR. Mirecourt, 1800. Violins and violoncellos of + Stradivari pattern; work poor, the wood not good; varnish ugly + brown; tone bad. + + MARSHALL, John. London about 1750-60. Stainer pattern; work good. + + MARTIN. A family of makers in Paris, chiefly repairers. + + MARTIN, Jules. Germigny, Vosges. + + MARTIN. London, 1790-95, who lived at Hermitage Bridge, Wapping. + + MAST, Jean Laurent. Paris, 1750. His instruments are well made; + violins; blackish varnish. + + MAST, Josephus Laurent, son of Jean Laurent Mast. Mirecourt; still + there in 1820; better than his father, but not very noteworthy. + + MAUCOTEL, Charles, brother of Charles Adolphe Maucotel. 1807-60, + Mirecourt. Studied under Gand; went to London; excellent tone. + + MAUCOTEL, Charles Adolphe, brother of Charles. 1820-58, Mirecourt. + Apprenticed in Mirecourt; went to Paris; worked under J. B. + Vuillaume; excellent copyist of Stradivari. + + MAUSSIELL (or Mansiedl), Leonhardt. Nuremberg, 1720-50. Stainer + pattern; very good. + + MAYR (Maier), Andreas Ferdinand. Salzburg, about 1740-80. Is said + to have made the small violin on which Mozart learned to play. + + MAYSON, Walter H. A maker in Manchester who began as an amateur, + but soon adopted violin-making as a profession. His instruments are + excellent. + + MEARES, Richard. A maker of lutes. London in 1677; lute and + viol-maker on verge of the violin. + + MÉDARD, Antoine, b. 1621. (_See_ p. 187.) + + MÉDARD, François. + + MÉDARD, Henri. + + MÉDARD, Jean. + + MÉDARD, Nicolas. + + MÉDARD, Sébastien. + + MEIBERI, Francesco. Leghorn, 1745-50. + + MELLING. Paris, 1753-71. + + MELLINI, Giovanni. Guastalla, Italy, 1768. + + MELONI, Antonio. Milan, about 1670-95. Followed the Amati pattern; + his instruments are small, but good tone. + + MENNÉGAND, Charles. Nancy, 1885. Apprenticed at Mirecourt; went + to Paris and Amsterdam; worked with Rambaux; returned to Turin; + consummate repairer. + + MENNESSON, Emile. 1842-98, Rheims. Has made 2380 violins; fine + copyist of Stradivari’s “Messiah” period; gold medallist. + + MÉRIOTTE, Charles. Lyons about 1730-60. Made on the Stradivari + pattern; yellow-brown varnish; good workmanship. + + MERLIN, Joseph. London, 1770-80. His violins and his mechanical + pegs for violins and violoncellos at first the vogue, but have + not maintained their place; he followed the high Stainer model; + instruments were well made, but tone not good. + + MESSEGUER. A Spanish maker, 1646. + + METTE, François. A maker in the South of France. + + MEZADRI (Mezzadie), Alessandro. Ferrara, 1690-1720. Amati school, + but failed to rival their grace; inferior tone. + + MEZADRI (Mezzadie), Francesco. A maker at Milan about 1700-20; his + altos were of small pattern. + + MIALFI, Joannes. A Spanish maker about 1769; nothing remarkable. + + MICHAUD. Paris about 1788. + + MICHELIS, Pelegrino (or Peregrino) di Zanetto, son of Zanetto de + Michelis, b. 1520. Made lutes and other instruments in Brescia; on + the verge of the violin; a fine tenor known. + + MICHELOT, Jacques Pierre. Paris about 1780-95, at the sign of “A la + Mélodie.” He made five-stringed viols and violins. + + MIER. London, 1786. + + MIGGÉ, Otto, b. June 16, 1857, Coblenz; made 80 violins and 14 + violoncellos; good tone. + + MILANI, Francesco. Milan about 1740-60. School of Lorenzo + Guadagnini. + + MILHET. Bayonne, 1820. + + MILLE. Aix-la-Chapelle. A small pocket-violin is known. + + MILLER. London, 1750. + + MILLER, A. St. Andrews, Scotland. + + MINOZZI, Matteo. Bologna, eighteenth century. + + MIRAUCOURT, Ludovic (or Joseph). On verge of violin; still made + viols in 1743. + + MIREMONT, Claude Augustin, son of Sébastien Miremont. 1827, + Mirecourt; d. 1887, Pontorson (Manche); in 1844 to Paris, and + worked first with Lafleur, then with Bernardel until 1852, when + he left France for America, and settled in New York; returned to + France; made chiefly violoncellos; excellent tone; Stradivari + pattern. + + MIREMONT, Sébastien. Mirecourt, 1810. + + MODESSIER. Paris in 1810. His instruments a large pattern; + excellent wood. + + MOERS, Jean Henri. Paris, 1771. + + MOHR, Philipp. Hamburg, 1650. + + MOINEL, Charles, nephew of N. E. Cherpitel. Paris, 1893. Continued + Cherpitel’s business. + + MOITESSIER, Louis. Mirecourt, 1780 to 1825. He made a large number + of instruments; many violins; rather common; fair tone. + + MOLDONNER. Fussen, Bavaria, 1756-98. + + MOLINARI, Antonio. Venice, 1672-1703. + + MONGENOT. Rouen, 1763. + + MONTADE (Montani or Montaldi), Gregorio. Cremona, 1690-1735. Pupil + or imitator of Omobono Stradivari; fairly good. + + MONTAGNANA, Domenico. A celebrated maker in Venice about 1720-50. + (_See_ p. 87.) + + MONTRON. Paris, 1780-90. + + MORELLA, Morglato. A maker of lutes, rebecs, and viols, 1510-50; + has lasted into the violin epoch on account of his viols having + been cut down for violas. + + MORONA, Antonio. Istria (Istrien) in 1731. + + MORRISON, John. 1760-1830. Poor maker; did job work for the trade. + + MOTTENHAVER, Edward. New York, U.S.A., who has taken out a great + many patents for inventions. + + MOUGENOT, Georges. 1843-98, Mirecourt (Vosges). Worked in Brussels + for N. F. Vuillaume, and succeeded him; uses “hands,” but plans + and finishes himself; gold medallist. + + + NADOTTI, Giuseppe. Piacenza, 1760-70. + + NAMY, Jean Théodore. Paris, 1755-1807; fine restorer; worked for + Salomon’s widow in Paris. + + NAYLOR, Isaac. A pupil of Richard Duke; worked at Headingly, near + Leeds, 1778-92. + + NERMEL, J. M. Paris, 1777-89. + + NEUNER, Ludwig. 1840, Mittenwald (Bavaria). Grandson of Mathias + Neuner, also a clever maker of violins, who worked for some time + in London; worked for J. B. Vuillaume, Paris; settled in Berlin; + accomplished maker; sends out from his firm 20,000 instruments a + year; very cheap and good money’s worth; can do better quality when + he chooses. + + NEWTON, Isaac. London about 1775-1825. He made fairly good + instruments, but used a dingy yellow varnish. Sometimes made + violins and violoncellos for Betts, but these were always varnished + by the latter. + + NEZOT. Paris, 1730-60; transition maker from viols to violins; only + a few violins. + + NICOLAS, Didier, l’aîné (known as “deaf Nicolas”), 1757-1833, + Mirecourt; clever workman and large employer; large pattern, loud + tone; suitable for orchestra. + + NICOLAS, François Nicolas Fourrier (was known simply as “Nicolas”), + b. Oct. 5, 1758. 1816, Paris. Made all the instruments used in the + private orchestra of Napoleon I.; careful choice of wood; good + proportions; closely copied from beautiful specimens of Cremona; + not much in fashion now, but good violins of his still about. + + NICOLAS, Joseph, son of Didier Nicolas. 1796-1864. Mirecourt; + eccentric maker; after his death his stamp and his father’s sold + off with stock, and used for violins made by neither. Pupil and + successor of his father. + + NICOLAS, Mathieu. Mirecourt. His instruments of ordinary + workmanship, some yellow or red varnish. + + NIGGELL, Simpertus. A maker of viols and violins. Fussen, 1743-66; + transition maker of viols and violins; flat pattern. + + NORBORN, John. London, 1723. + + NORMAN, Barak, b. 1688; d. 1740. (_See_ p. 125.) + + NORRIS, John, b. 1739, London; d. March 10, 1818; pupil of Thomas + Smith; went into partnership with Robert Barnes in 1765. + + NOVELLO, Pietro Valentino, brother of Marco Antonio Novello. + Venice, eighteenth century. + + NOVELLO, Marco Antonio, a brother of Pietro Valentino Novello; in + Venice at the same time; good work. + + NOVERSI, Cosimo. Florence, seventeenth century. + + + OBBO, Marco. Naples, 1712; ordinary work. + + OBICI (Obue), Bartolommeo. Verona in 1684. + + ODANI, Giuseppe Morello. Naples, 1738. + + ODOARDI, Giuseppe. Working until 1675, Ascoli, Italy; some + confusion about his date, 1675-1740; died at 28; self-taught; an + original genius; about two hundred violins; much valued when can be + found. + + OHBERG, Johann. Stockholm in 1773; fairly good; a yellow varnish. + + ONEDA, Gio. Battista, b. 1529. A maker of cithers and violins (?) + in Brescia about 1562. + + ONGARO, Ignazio. Venice, 1783. + + ORLANDELLI, Paolo. Codogno, Italy, eighteenth century. + + ORTEGA. 1840; maker and repairer. Madrid. + + OSTLER, Andreas. Breslau, 1730; chiefly viols. + + OTTO, Carl August, fourth son of J. A. Otto; b. 1801, Jena; d. + 1883, Ludwigslust; maker to the Mecklenberg-Schwerin Court. + + OTTO, Carl Christian, second son of J. A. Otto, 1792; Halle; + repairs old instruments. + + OTTO, C. W. F. Louis, fifth son of J. A. Otto, 1805-84, Stockholm. + + OTTO, Georg August Gottfried, eldest son of J. A. Otto; 1789, + Weimar; 1857, Jena; good maker. + + OTTO, Heinrich Wilhelm, third son of J. A. Otto; b. 1796. Amsterdam + and Berlin. + + OTTO, Hermann, son of Ludwig Otto, 1859-84. Cologne, St Petersburg. + + OTTO, Jacob August; b. 1764, Gotha; d. 1830, Jena. Pupil of Franz + Anton Ernst at Gotha; settled in Weimar; maker to the Court; worked + also in Halle, Leipzig, Magdeburg, Berlin, and Jena; fine repairer, + but made excellent violins and violoncellos. His five sons all + became violin makers. + + OTTO, Ludwig, son of Georg August Gottfried Otto; b. 1821, Jena; + 1887, St Petersburg, Cologne, St Petersburg. He exhibited three + violins, a viola, violoncello, and double-bass, in London, 1862. + They were all well made, and were moderately priced. + + OTTO, Louis, son of Carl August Otto; b. July 15, 1844, + Ludwigslust. Pupil of his father in Ludwigslust, 1860-65; in + Cologne, 1865-66, then went to Hanover, 1872; then still there + (1898); careful in selection of wood; large Stradivari pattern; + excellent work; has made 238 violins, and many tenors and ’cellos. + First prizeman, Chicago and Melbourne. + + OUVRARD, Jean. 1725-46; pupil of Claude Pierray. Transition maker, + but true violoncello pattern, though continued to make viols. + + + PACHERELE, Michel. A maker in Paris in 1779; followed Guersan; + slightly arched; yellow varnish. + + PACHERELE, Pierre. 1803, Mirecourt; 1871, Nice; fellow-apprentice + of J. B. Vuillaume at Mirecourt; worked at Genoa, and with + Pressenda, Turin; made a great many violins, altos, and + violoncellos, all of good workmanship; varnish too thick; took + Stradivari for his model; a clever repairer. + + PACQUET. From Aix; working in Marseilles in 1785. + + PADEWET, Johann. A good maker; d. about 1874; started at Basle, + 1844, but moved to Carlsruhe. + + PADEWET, Johann, son of Johann Padewet; b. Aug. 23, 1851-95, + Carlsruhe. Hanover, Berlin, under Aug. Riechers till 1874. Assisted + by two workmen, he makes forty to fifty instruments (violins, + violas, and violoncellos) a year, on the Stradivari pattern, using + oil varnish of reddish-yellow or golden-brown colour; good repairer. + + PAGANI, Gian Battista. Cremona, 1747. + + PAGANONI, Antonio. Working in Venice in eighteenth century. + + PAGEOT (Pajeot), son of Louis Simon Pageot; b. Jan. 25, 1791, + Mirecourt; d. there Aug. 24, 1849. A maker of bows. In his + workshops about 8000 dozens of bows were turned out at prices + varying from 6d. to 14s. + + PALATE. Liège, 1710; Italian pattern; excellent instruments. + + PALMA, Paolo. Lucca, 1760. + + PAMPHILON, Edward. A maker in London, on London Bridge, about + 1680-90. (_See_ p. 124.) + + PANDOLFI, Antonio. Venice, 1700-20; good; yellow-brown varnish. + + PANORMO, Edward, either a son or a grandson of Vincenzo Panormo; he + worked both in London and in Ireland. + + PANORMO, George. London. Probably a grandson of Vincenzo Panormo. + + PANORMO, George Lewis, second son of Vincenzo Panormo. Very good + bows; fine guitars and a few good fiddles. + + PANORMO, Joseph, eldest son of Vincenzo Panormo. London. Died in + great poverty; good workman; violoncellos excellent. + + PANORMO, Vincenzo (known as “old Panormo”), b. Nov. 30, 1734, + Monreale, a village near Palermo, Sicily; d. 1813, London. Began + at sixteen; worked in England, Ireland, and Paris; perhaps with + Bergonzi in Cremona; excellent maker; powerful tone; Stradivari + pattern; clear yellow varnish; also guitars. + + PANZANI (Pansani), Antonio. Rome, 1735-85; good maker. + + PAQUOTTE Frères. Henri Félix, 1857, and Placide, 1864, sons of Jean + Baptiste Paquotte, to whose business they succeeded in July 1888. + Paris; a few violins; excellent in tone, but firm chiefly repaired. + + PAQUOTTE, Jean Baptiste. Nephew of Sébastien Paquotte; one of the + best Paris makers of the day, 1860-88. + + PAQUOTTE, Sébastien. Mirecourt, 1800-63, Paris. In 1830 he founded + the business in Paris. + + PARALDIC. 1722. + + PARDI. Paris, 1788. + + PARDINI, Bastiano. 1700. + + PARIS, Claude. Paris, 1775. In 1816 was joined by his nephew; + spirit varnish, a red-yellow colour. + + PARKER, Daniel. London, 1740-85. A very clever workman, possibly a + pupil of Urquhart or Pamphilon. Red varnish, wood excellent, tone + clear and powerful. He made largely for the trade; his instruments + are often sold under other names; no viola or violoncello of his + known. About 1793 instruments valued at five guineas each; about + 1805 they realised as much as fifteen. + + PARTH (or Perth), Andreas Nicolas. Vienna about 1790. + + PASTA, Domenico and Gaetano. Brescia about 1700-30; followed the + Amati instead of the Maggini pattern; poor tone; varnish brown. + + PATZELT, Johann Ferdinand. Vienna. + + PAZZINI, Gian Gaetano. Florence, 1630-70. According to label a + pupil of Maggini; instruments are not common. + + PEARCE, George; b. Nov. 16, 1820, Warminster; d. 1856, London. In + the workshop of S. A. Forster as errand-boy, taught violin-making, + and became an excellent workman. + + PEARCE, James and Thomas. Brothers working in London, 1780-1800; + work poor. + + PEARCE, William. London. + + PECCATE, Charles. Maker of bows in Paris, 1889. + + PECCATE, Dominique. 1810, Mirecourt; d. there, Jan. 13, 1874. In + 1826 was apprenticed to J. B. Vuillaume at Paris, and worked with + him until 1837; then François Lupot died, and Dominique succeeded + to his business at 18 Rue d’Angivilliers; returned to Mirecourt; + ranks next to François Tourte as a bow-maker; at first sold for + 16s., now price quadrupled. + + PECCATE, jeune. A brother of Dominique; also made bows; worked for + J. B. Vuillaume; work is inferior to that of his brother, 1856. + + PEDRAZZI, Fra Pietro. A Dominican friar; working in Bologna in 1784. + + PEMBERTON, Edward. London in 1660; instruments ugly, but tone good + and the varnish fine. It has been suggested that a Pemberton was + the maker of the instrument presented to the Earl of Leicester + by Queen Elizabeth which has “J. 15/78 P.” engraved on the + tail-pin--supposed to be the initials of the maker and the date of + the year (1578) in which it was made. If so, he was the earliest + English maker of the four-stringed violin. + + PERAULT. A maker in Paris, 1775-77. + + PÉRON (or Perou), Nicolas. Paris, 1775-90; appointed maker to the + Duchess of Orléans; instruments well made; yellow-brown varnish; + Gagliano pattern. + + PERRY, Thomas. A maker in Dublin, 1767-1827. He was in partnership + with William Wilkinson; they made good violins. + + PERSOIT. Maker of excellent bows in Paris. He made for J. B. + Vuillaume, 1823-41; but then started a business of his own. He + marked his bows “P. R. S.” + + PETERS, Michael. Weyberg in 1801, judging from two labels in a + bass-viol of seven strings; the first runs: “Dieses Instrument ist + gemacht, anno 1627,” the second is “Arranschirt von Michael Peters + in Weyberg, anno 1801.” + + PETZ. Fussen, Bavaria, 1770. + + PEZZARDI. Brescia, 1580-1610; violins similar to those of Maggini; + sometimes sold as Maggini. + + PFAB. Hamburg. + + PFRETZSCHNER, Carl Friedrich, son of Johann Gottlob Pfretzschner. + Worked in Cremona; no great merit. + + PFRETZSCHNER, Johann Gottlob. Cremona, 1794; not good. + + PFRETZSCHNER. Neukirchen. + + PICHOL. Paris. + + PICINO. Padua, 1712; instruments arched; dark varnish. + + PIERRARD, Louis, 1890. A maker of excellent violins, with red-brown + varnish, and of good tone, Brussels; pupil of Mougenot, but started + his own business in 1883; wrote “Traité de lutherie.” + + PIERRAY (or Pierret), Claude. A contemporary of Boquay; he worked + in Paris about 1700-30. + + PIETE (PICTE), Noel. Paris, 1760-1810; beautifully finished + workmanship. + + PILLEMENT, F. Paris, 1790-1820; capricious maker; dark varnish. + + PILOSIO, Francesco. Gorizia in 1748. + + PIQUE, François Louis; b. 1758 at Rorei, near Mirecourt; d. 1822, + Charenton St Maurice. Went to Paris in 1777. + + PIROT, Claude. Paris, 1800-20; good violins, Italian pattern; + bellies slightly arched, backs hardly at all; the sound-holes well + cut; varnish thick, red-brown or pale yellow colour. + + PITET (or Pilet). A maker in Paris latter part of the seventeenth + century; no great value. + + PIZZURMUS (Pozzurnus), David. Genoa, 1760. + + PLACK (Plach), Francis. Schœnbock, Bohemia, 1740-80; good violins. + + PLANE, W. Glasgow, 1860. + + PLANI, Agostino de. Genoa in 1778; commonplace. + + PLATNER, Michele. A Swiss; working in Rome in 1747; fair + workmanship; rather arched; scroll well cut; varnish golden-red. + + PLUMEREL. Was working in Paris in 1740. + + PLUMEREL, Charles. Angers, France, in 1822. + + POIROS, Louis. French maker. + + POIRSON, Eloph. Paris, 1875-89; first an amateur, afterwards made + for the trade; good work. + + POLIS. Luca de. Cremona in 1751. + + POLLUSCA (Pollusha), Antonio. Rome in 1751. + + PONS, César. Grenoble, 1780-1820; violins large size, arched; work + not good. + + POLRON, Peeter. A double-bass used in the Cathedral of Antwerp is + dated 1647. + + POSTACCHINI, Andrea. Firmo, 1824; excellent maker, and good + repairer of instruments. + + POSTIGLIONE, Vincenzo. 1835 at Naples; good maker, and made many + instruments, which rise every year in value. + + POWELL, Royal and Thomas. Two brothers who worked in London, + 1770-1800; employed by William Forster, and his son, William + Forster; work neat and good. + + PRESSENDA, Giovanni Francesco; b. 1777, Turin; d. there, 1854. + Was the son of a strolling fiddler, Raffaele Pressenda; went to + Cremona; there studied violin-making under Lorenzo Storioni; learnt + there to make the varnish for which his violins were afterwards + noted; Stradivari pattern, not much arched, sound-holes well + cut, proportions correct, wood good, but scrolls rather roughly + finished; red-brown varnish of excellent quality. + + PRESTON, John. York, 1785-95. + + PREVÔT (or Prevost), P. Charles. Paris from 1775-89. + + PRIEUR, Claude Edme Jean. Paris, 1775-89. + + + QUINOT, Jacques. Paris, 1660. Mentioned in 1680 as being “one of + the most clever of the honourable luthiers of Paris.” + + + RACCERIS. Mantua, 1670; similar to the Gagliano family, with one of + whom he is said to have been in partnership. + + RAFFAELLE, Nella (or Della). Brescia, 18th century; pattern + of Maggini; his instruments have the sides ornamented with + inscriptions; brown varnish; no great merit. + + RAMBAUX, Claude Victor, 1806-71; at Darney in the Vosges; d. at + Mirecourt. Went to Caen and worked under Thibout, 1824-27; then to + Paris, where he worked with Gand; great repairer and adapter of old + instruments by cutting down. + + RAMFPLER, Franz, 1834-90, Munich; pupil of Andreas Engleder, + Munich; used his own invented varnish; made good fiddles. + + RANCE, Thomas. Brussels, about 1680-85. + + RANTA, Pietro. Brescia, 1733; Amati pattern. + + RASURA, Vincenzo. Lugo, 1785. + + RAU, J. F. Nuremberg; exhibited at Munich in 1854 a violin of good + though rather coarse tone. + + RAUCH, Breslau, and Rauch of Würzburg, two brothers, 1730-60; good + violins; used their own models; varnish red; tone sound. + + RAUCH, Jacob. Mannheim, 1720-50; good work; violins Stainer tone; + excellent altos, violoncellos, and double-basses. + + RAUCH, Sebastian, 1725-90 Hamburg, and Leitmeritz in Bohemia; + violins arched, not remarkable. + + RAUT, Jean. Bretagne; who worked in Rennes till about 1790; pattern + of Guarneri; red varnish. + + RAUTMANN. Brunswick. + + RAWLINS. London in 1779. + + RAYMAN, Jacob; b. in the Tyrol, but settled in London about 1620-48. + + RAZENZO, Carole. Barcelona, 1690. + + REALLI, Cosmo Battista. Parma, 1667. + + RECHIARDINI, Giovanni (called “Zuano”). Venice, 18th century. + + REGNAUT (Renault), Jacques. Paris, 1665-85; a little pocket-violin, + with silver purfling, was dated 1682; maker to the King. + + REICHEL, Johann Conrad, brother of Johann Gottfried. Neukirchen in + 1779. + + REICHEL, Johann Gottfried, brother of Johann Conrad. Absam; pupil + of Stainer; work rough; red-brown varnish of poor quality. + + REMY. A French maker; 1840, Paris and London; Italian pattern; wood + artificially aged. + + REMY, Hippolyte, eldest son of Jean Mathurin Remy. 1835-70 in + Paris; no great merit. + + REMY, Jean Mathurin, son of Mathurin François Remy; b. 1770, Paris; + d. 1854; his work same as father’s; oil varnish. + + REMY, Jules Hippolyte, second son of Jean Mathurin Remy; b. 1813, + Paris; d. 1876. + + REMY, Mathurin François, 1775-91, Paris; yellow-brown varnish. + + RENAUDIN, Léopold; b. 1749, at Mirecourt; guillotined, May 7, + 1795. He settled in Paris, living in the Rue St Honoré from 1776 + till his death at the sign of “Aux amateurs”; fairly good violins, + but too much arched; varnish almost black in colour; excellent + double-basses. + + RENAULT, Nicolas. A French maker, 16th century. + + RENAULT, Sébastien. Paris, 1775-1805. Cithers of his are known + dated 1779, 1786, and 1804; a violin is described as made on a + good pattern, with yellow varnish of fair quality; worked with F. + Chatelain. Advt.: “Renault et Chatelain, luthiers, font et vendent + louent, achètent et raccommodent toutes sortes d’instruments de + musique, etc., à Paris.” + + RENISTO. Cremona, 1735-40; pupil of Carlo Bergonzi, whose work he + copied closely. + + RESLE, Andrea. Fiesso in 1740; good. + + REYNAUD, André. Tarascon, 1754-66; good violoncellos. + + RICHARDS. London. + + RICHELME, A. Marius. Marseilles; curves of the upper and lower + bouts almost returning to the ancient viol-shape. He published in + Marseilles, 1868: “Etudes et observations sur la lutherie ancienne + et moderne.” + + RICOLAZZI, Lodovico, 1729. + + RIECHERS, 1836, Hanover; d. 1893, Berlin. Was first a pupil + of L. Bausch at Leipzig, then moved to Berlin in 1872, at the + special request of the violinist, Joseph Joachim; made excellent + instruments on the Stradivari and Guarneri patterns; about 1000 + violins and over 200 violoncellos were made in his workshop. + + RIESS. A maker, Bamberg, about 1740-60; fair maker; Stainer pattern. + + RINALDI, Benedetto Gioffredo, Pupil of Pressenda; d. 1890. Turin. + + RIVOLTA, Giacomo. Milan, 1822. Good work. + + ROCCA, Giuseppe Antonio. Turin, 1835-55; worked at one time for + Pressenda; Stradivari pattern; varnish is poor quality. + + RÖSCHER, C. H. W. Bremen, 1871. + + ROGER, G. Montpellier, 1820. + + ROGERI, Gian Battista; b. Bologna, 1650. Cremona, under Nicolo + Amati; Stradivari was a fellow-pupil of his. + + ROISMANN, Johann. Breslau, 1680. + + ROL. Paris, 1753. + + ROMANO, Pietro. Pavia, 18th century. + + ROMARINI, Antonio. Cremona, 18th century. + + ROMBOUTS, Pieter. Amsterdam, 1705-35; he made violins, violas, and + violoncellos, much arched; bright but thick varnish. + + ROOK, Joseph. London, about 1777-1830; good work; Forster pattern. + + ROPIQUET. Paris, 1810-30; he was an orchestral player; made some + violins of no great value. + + ROSIERO, Rocco. Cremona, early part of 18th century. + + ROSIO, Paolo. 1857, Verolanuova; Brescia. + + ROTA, Giovanni. Cremona, 1800-10; rough work; varnish yellow. + + ROTA, Giuseppe Antonio. Turin, 1825; his work similar to that of + Pressenda; varnish is red-brown. + + ROTH, Johann and Christian. Both about 1675, the former at + Darmstadt and the latter at Augsburg. + + ROTTENBROUCK. Brussels, 1700-25; pattern of Amati; red-brown + varnish. + + ROVETTA, Antonio. Bergamo, 1840-70. + + ROZE. Orléans, 1755-65; good workmanship; varnish yellow. + + RUGGERI (Rugieri), Francesco. 1668-1720. Was the first of a family + of makers in Cremona, very often confused with Rogeri of Brescia. + (_See_ p. 50.) + + RUGGERI (Rugieri), Giacinto, son of Francesco Ruggeri; b. in + Cremona. + + RUGGERI (Rugieri), Guido. Cremona about 1720. + + RUGGERI (Rugieri), Pietro Giacomo and Giovanni Battista. Both + working in Brescia about 1700-25. + + RUGGERI (Rugieri), Vincenzo, son of Francesco Ruggeri. Cremona + about 1700-30, is also said to have worked in Brescia. He made many + altos and violoncellos; work rough; last member of this family to + make violins. He also used “il Per” on his labels, for the same + reason, probably, viz., to distinguish his work from that of the + Rogeri of Brescia. + + RUGGERI, Gianbattista. Cremona, _cir._ 1693. + + RUPPERT, Johann Heinrich. Erfurt about 1720. His violins, altos, + and violoncellos were of a flat model, without linings, corner + blocks, or purfling; loud tone, and dark brown varnish. + + + SACCHINI, Sabattino. Pesaro in 1686. + + SACQUIN. Paris about 1830-60; instruments well made, especially the + double basses; followed the Stradivari pattern. + + SAINT-PAUL, Antoine. Paris, about 1765-90. He was son-in-law and + successor of Louis Guersan; his advertisement says, “Il fait + et vend toutes sortes d’instruments de musique sçavoir; violons + de Cremone, violons de sa façon et de toutes sortes d’auteurs; + alto-violas, basses et contrebasses.” + + SAINT-PAUL, Pierre. Paris, 1740. + + SAJOT. Paris, 1730-35; instruments with flat backs; varnish + yellow-brown; the work poor. + + SALINO, J. B. Rome in 1760; very arched; varnish bad, brown. + + SALLE, le Père. Paris about 1825-53. He made a few violins; + beautiful copies of Guarneri; fine repairer and great connoisseur. + + SALOMON, Jean Baptist Deshayes. Rheims, 1747-70 (?); went to + Paris, where his widow carried on the firm, employing Namy; later + he settled in the Rue de l’Arbre-sec (about 1769). He died before + 1772, for in that year Namy is mentioned as working for the + widowed Madame Salomon. He made few violins, but they show good + work, and are on a similar pattern to those of Louis Guersan, his + contemporary; they have yellow-brown varnish; unequal maker; some + good violoncellos and bass viols. + + SALZARD, F. Paris. + + SANONI, Giovanni Battista. Verona, 1740; instruments much arched; + rose-coloured varnish; good work. + + SANTAGIULIANA, Giacinto. Venice, 1830. + + SANTE, Pesaro. 1670. + + SANTE, Giuseppe. Rome, 1778. + + SANTO, Giovanni. Naples, 1700-30; copied Amati; small pattern; well + made; varnish poor. + + SANTO SERAFINO; b. at Udine; worked in Venice about 1710-48. (_See_ + p. 90.) + + SANZO SANTINO (Santo Sentino). Milan, 18th century; good; resembles + Grancino. + + SARACENI, Domenico. Florence, 17th century. + + SARAILLAC, François. Lyons, 1678-1712. + + SASSANO. Fine Italian maker; rarely met with; yellow varnish; + beautiful free tone. + + SAUNIER, Edmond. 1754-80, Bordeaux and Paris. Was a pupil of + Lambert of Nancy, the “Carpenter,” but did superior work. + + SAVANI, Giuseppe. Carpi, 1809. + + SAWITZKI (Sawicki), Nicolaus; b. 1792, Poland; d. 1850; settled in + Vienna; good. + + SCARAMPELLA, Giuseppe, son of Paolo Scarampella; 1838-80 (?), + Brescia, Paris, Florence. He restored the viola and the famous + violoncello of Stradivari kept in the Istituto Musicale of + Florence, and in 1884 succeeded Castellani as keeper of the + collection of instruments there; makes new instruments, following + the Stradivari or Guarneri del Gesù patterns; tone clear and + strong; the work carefully done; reddish oil varnish. + + SCARAMPELLA, Paolo; b. Sept. 25, 1803, Brescia; d. April 7, 1870. A + carpenter by trade, but made many violins, violoncellos, guitars, + and mandolines. + + SCARAMPELLA, Stefano, son of Paolo Scarampella. Brescia, 1843; + settled in Mantua; made many good violins. + + SCHAENDL, Anton. Mittenwald, 1753. + + SCHEINLEIN, Johann Michael, son and pupil of Matthäus Friedrich + Scheinlein; 1751, Langenfeld; large Stainer pattern, but avoided + the arching; full and pleasant tone; but wood not being thick + enough, so not durable. + + SCHEINLEIN, Matthäus Friedrich, 1710, Langenfeld in Franken + (Franconia); d. there, 1771. A violinist, but taking great interest + in violin-making, began by repairing old instruments and finished + by making new ones; much arched; dark brown varnish; work careful. + + SCHELMAYER, Christian. Cologne. + + SCHLICK, Leipzig. + + SCHMIDT. Cassel, 1817; Stradivari pattern, but edges are larger and + purfling not so close to the sides; spirit varnish; wood of bad + quality. + + SCHMIED. Vienna, 18th century. + + SCHÖNFELDER, Johann Adam. Neukirchen in 1743. + + SCHONGER, Franz. Erfurt, 18th century; fairly good. + + SCHONGER, Georg, son of Franz Schonger. Erfurt; better than his + father, and left some good violins; Italian pattern; good repairer. + + SCHORN, Johann Paul; 1680-1716, Innsbrück; made excellent violins; + much arched; good varnish. + + SCHÜNEMANN, Otto. German; appointed Director of the School of + Violin-Making at Schwerin. + + SCHULZ, Peter. Ratisbon, 1854; German school; good. + + SCHUSTER, Gebrüder. Brothers who make cheap fiddles, 75s., good + tone, at Markneukirchen. + + SCHUSTER, Michael. Also connected with the business in + Markneukirchen, Saxony. + + SCHWARTZ, Bernard. French maker who settled at Strasburg, + 1795-1822; two sons, both makers. + + SCHWARTZ, Georges Frédéric; 1785-1849; and Théophile Guillaume, + 1787; Strasburg, 1861, sons of Bernard Schwartz. Pupils of + their father, and at his death succeeded to his business, which + became “Frères Schwartz.” Théophile was chiefly concerned in the + instrument-making, Georges gave his time to making bows; he gained + a well-merited reputation. His bows are generally marked near the + nut with “Schwartz, Strasbourg.” + + SCHWARTZ, Théophile Guillaume, son of Théophile Guillaume Schwartz; + b. Sept. 3, 1821. In 1852 he succeeded to the business in Strasburg + at 2 Place Saint-Thomas; chiefly repairer. + + SCHWEIZER, Johann Baptist. Budapest, 1798-1875; pupil of Geisenhof + in Vienna; his violins not arched; work neat. + + SEGHER, Girolamo; b. 1646. Was a pupil of Nicola Amati, and was + working under him, 1680-82. + + SENI, Francesco. Florence in 1634. + + SERASATI, Domenico. Naples, 1710-50; fair. + + SICILIANO (Ciciliano), Antonio. Venice about 1600. A tenor and a + bass viola da gamba in the Modena Museum, Vienna. + + SICILIANO, Gioacchino, son of Antonio Siciliano. Venice about 1680. + + SILVESTRE, Hippolyte; 1808, Saint-Nicolas-du-Port (Meurthe); 1879, + Sommerviller, near Nancy. Was first a pupil of Blaise at Mirecourt, + then of J. B. Vuillaume at Paris. + + SILVESTRE, Pierre, brother of Hippolyte; b. Aug. 9, 1801, at + Sommerviller, near Nancy; d. 1859, Lyons. Was also a pupil of + Blaise at Mirecourt, then went to Paris; worked with Lupot; + excellent violins; made about 350 instruments, bearing his label: + “Pierre Silvestre à Lyon, 185--.” When working with his brother, + the label used was: “Petrus et Hippolytus Silvestre fratres + fecerunt Lugdun.” + + SIMON. Salzburg, 1722. + + SIMON, Claude. Paris, 1733-88. + + SIMON, P.; b. 1808, Mirecourt. Went to Paris in 1838, where he + worked for some months under D. Peccate; then to J. B. Vuillaume; + made most excellent bows, and generally marked them with “Simon, + Paris,” near the nut. + + SIMONIN, Charles. Mirecourt. Was apprenticed to J. B. Vuillaume at + Paris, and became one of his most able workmen. In 1841 he settled + in Geneva, then went to Toulouse; excellent maker. + + SIMOUTRE, Nicolas. 1788, Mirecourt; d. 1870, at Metz. His son, + Nicolas Eugène, was also a maker. + + SIMOUTRE, Nicolas Eugène, son of Nicolas Simoutre. 1834-89, + Mirecourt. Was first a pupil of his father, then of Darche in + 1852 at Paris; then of Ch. Roth in 1856 at Strasburg; worked in + Strasburg, Mulhausen, Basle, and Paris; a prolific writer on his + art. + + SIMPSON, James, and Son. Were musical instrument makers in London + in 1794. + + SIRJEAN. Maker of bows in Paris, 1818. + + SITT, A. Prague, 1854. Stradivari pattern, which improve with age. + + SLAGHMEULEN, Jan Baptist van der. Antwerp, 1672. The varnish a pale + brown. + + SMITH, Thomas. London, 1740-90. Pupil and successor of Peter + Wamsley; fine violoncellos; Stainer pattern; rising in price. John + Norris was a pupil of his. Label: “Made by Thos. Smith at the harp + and hautboy in Pickadilly. London, 1756;” similar labels were used + until 1766. + + SMITH, William. Hedon, Yorkshire, in 1786. + + SNEIDER, Giuseppe. Pavia, 1700-25. A pupil of Nicola Amati. Violins + slightly arched; varnish is a rich yellow colour; instruments made + by Girolamo, son of Nicola Amati, have often been attributed to + Sneider. + + SNOECK (Schnoeck), Egidius. Brussels, 1731. Amati pattern; dark + reddish varnish. + + SNOECK, Marc. Brussels, 1744. Clever repairer. + + SOCCHI, Vincenzo. Bologna, 1661. + + SOCQUET, Louis. Paris, 1750-80. Not good. + + SOLIANI, Angelo. Modena, 1752-1810. + + SOMER, Nicolas. Paris, 1725-50. + + SPEILER. A German maker, 18th century. + + SPRENGER, Anton. 1834, Mittenwald. Makes violins and violoncellos + on the Stradivari and Guarneri patterns; oil varnish of good + quality. + + STADELMANN (Statelmann), Daniel Achatius. 1680-1744, Vienna, who + showed great ability in imitating the Stainer pattern; he used thin + varnish of a deep amber colour; the work is well finished. + + STADELMANN (Statelmann), Johann Joseph, son of Daniel A. + Stadelmann; good copyist of Stainer, 1764. + + STADL, Michael Ignatius. Vienna in 1770. Fair. + + STAINER, Andreas. Was working in Absam about 1660; made few violins. + + STAINER, Jacob, son of Martin Stainer and Sabina Grafinger. (_See_ + p. 93.) + + STAINER, Marcus, brother and pupil of Jacob Stainer; he worked in + Laufen, Austria. + + STANZA, Giuseppe, b. 1663 in Venice. Pupil of Nicola Amati at + Cremona. + + STATLEE, Anderl. Genoa, 1714. Pupil of Girolamo, son of Nicola + Amati. + + STEININGER, François. Paris, 1827. Excellent maker. + + STEININGER, Jacob. Frankfort, 1775. Nicholas Diehl was a pupil of + his. + + STIRBAT (Stirrat), David. Edinburgh, 1810-15; good. + + STORIONI, Lorenzo. 1751-80, Cremona. Worked at 3 Contrada + Coltellai; he was one of the latest, if not the last of the + celebrated makers of Cremona, and his instruments, though of great + merit, show signs of decadence in the art. (_See_ p. 88.) + + STOSS, Bernard and Martin. Fussen, Bavaria; worked in Vienna; fair + makers. + + STOSS, Franz. Fussen, Bavaria, 1750-98. + + STRADIVARI (Stradiuarius), Antonio, son of Alessandro Stradivari + and Anna Moroni. (_See_ p. 61.) + + STRADIVARI, Francesco, son of Antonio Stradivari. 1671-1743. + + STRADIVARI, Omobono, son of Antonio. 1679-1742. + + STRAUBE (Staube). Berlin about 1770-75. Few known, but good; + excellent repairer. + + STRAUS, Joseph. Neustadt, 1745-50. + + STRNAD, Caspar. 1750. He settled in Prague and worked there, + 1781-95; good maker. + + STROBL, Johann. Hallein in 18th century. + + STURGE, H. 1811-53, Bristol; repairer, Huddersfield. + + SULOT, Nicolas. Dijon, 1825-40. Eccentric maker. + + SURSANO (Sorsano), Spiritus. Cuneo, 1714-35; inferior. + + + TACHINARDI. Cremona, 1690. + + TADOLINI. Modena, 19th century. + + TANEGIA, Carlo Antonio. Milan, 1725-30. + + TANIGARDI (Taningard), Georgio. Rome, 1735. + + TARR, William. Manchester, 1829-55; made some fair double-basses. + + TASSINI, Bartolommeo. Venice, 1754; followed Testore. + + TAYLOR, 1750, London; supposed pupil of Panormo; good instruments, + principally double-basses, and clever at repairing old ones. + + TECHLER (Tecchler), David; 1666-1743. (_See_ p. 102.) + + TEDESCO (Todesco), Leopoldo, 1625-58; pupil of Nicola Amati in + Cremona, 1653-54. + + TEODITI (Teoditti), Giovanni. Rome, 17th century. + + TERNYANINI, Pietro. Modena, 1755. + + TESTATOR, “Il Vecchio.” Milan, 1520; reputed transition maker from + viol to violin. + + TESTORE, Carlo Antonio, eldest son of Carlo Giuseppe Testore. + Milan, 1735-65; followed the Guarneri model; violoncellos and + tenors very good; varnish golden-yellow. + + TESTORE, Carlo Giuseppe; b. at Novarra; settled at Milan about + 1687, and worked there till about 1720; pupil of Giovanni Grancino, + for whose work his instruments are often mistaken; best workman in + this family, but made few instruments. When the well-known Lindley + “Grancino” violoncello was repaired in 1884, the removal of the + Cremona label exposed the original label in good preservation, + as follows: “Carlo Giuseppe Testore allievo di Gio. Grancino in + Contrada Larga di Milano, 1690.” A double-bass of his was played on + by the celebrated Bottesini at concerts; it had a splendid tone. + Label: “Carlo Giuseppe Testore in Contrada larga di Milano al segno + dell aquila, 1700.” He had two sons, Carlo Antonio and Paolo + Antonio, both violin-makers. + + TESTORE, Giovanni, son of Carlo Testore, _q.v._ + + TESTORE, Paolo Antonio, second son of Carlo Giuseppe Testore and + the last maker of this name. + + THÉRIOT, J. B. Paris, 1783. + + THIBOUT, Aimé Justin. 1808-62, Caen. + + THIBOUT, Albert, son of Gabriel Adolphe Thibout. 1839-65, Paris; + succeeded his uncle, Gabriel Eugène, as “luthier de l’Opéra,” and + was succeeded in his turn by the brothers Gand. + + THIBOUT, Gabriel Adolphe, son of Jacques Pierre Thibout, 1804; + Paris, 1858; not as good as his father. + + THIBOUT, Gabriel Eugène, son of Jacques Pierre Thibout. 1825 at + Paris; succeeded his brother, Gabriel Adolphe, as “luthier de + l’Opéra” in Paris; 1861, Boulogne-sur-Mer. + + THIBOUT, Jacques Pierre. 1777-1856, Caen. First worked at + Caen, then under Koliker at Paris; fine maker; excellent tone; + workmanship rivals best Cremona style; varnish red on amber ground. + Advt.: “Nouveau procédé approuvé par l’Institut. Thibout, luthier + du roi, rue Rameau, no. 8, à Paris, 1825.” + + THIBOUVILLE-LAMY, Jérôme. A little before 1867 he became sole + proprietor of the various factories at Mirecourt; he gradually + substituted mechanical for manual labour, and while increasing the + number of instruments made, at the same time reduced their price, + so that at last he was able to exhibit at Vienna in 1873 his famous + violins at 4s., 8s., and 16s. each. By 1887, 35,000 instruments had + been made by this firm. He was awarded a medal, Vienna, 1873; medal + of honour, Santiago, 1875; prize medal, Philadelphia, 1876; and + gold medal, London, 1885. He was made Chevalier of the Legion of + Honour, April 10, 1877, and Officer, Jan. 15, 1892. + + THIN, Mathias and Georg. Vienna, 18th century; good. + + THIR, Johann Georg. Vienna, 1791. + + THOMASSIN. Worked under Clément at Paris, 1825-45; good. + + THOMPSON (Thomson), Robert. London, at the sign of the + “Bass-Violin,” in St. Paul’s Churchyard, 1749-64; Stainer pattern. + He was succeeded by his sons, Charles and Samuel, who worked about + 1775-85. + + THOROWGOOD, Henry. London, 18th century. Label: “Made and sold by + Henry Thorowgood at the Violin and Guitar under the North Piazza of + the Royal Exchange, 17--, London.” + + THUMHARDT, Munich and Straubing in the 18th century; German style. + + TIELKE, Joachim. One of a family of makers. Hamburg, 1539-1701. He + was celebrated for the lutes, theorbos, guitars, and especially the + viols of all kinds which he made, of very fine tone, ornamented + with the richest and most varied inlaid work; one violin of his is + also mentioned. + + TILLEY, Thomas. London, 1774. + + TIPHANON (Thiphanon), Jean François. Paris, 1775-1800. + + TIRLER, Carlo. Bologna, 18th century. + + TOBIN, Richard. London, 1790-1840; pupil of Perry, Dublin; worked + for John Betts; followed the Stradivari or Guarneri patterns; good + maker. A son of his was also a maker. + + TODINI, Michele, 1625. Lived in Rome; made a few violins. + + TOLBECQUE, Auguste, son of Auguste Joseph Tolbecque; 1830-51, + Paris. He was a violoncellist; also worked at violin-making under + Rambaux in Paris; made a small number of new instruments; extremely + clever at restoring old ones. + + TONONI, Antonio. Bologna, 17th century. + + TONONI, Carlo, son of Felice. First worked, 1698-1739, Bologna; + settled in Venice. His instruments vary; they are generally of + a large pattern, not so highly arched as those of his brother + Giovanni; varnish similar to that of Santo Serafino; yellow-brown + colour. He often branded his monogram near the button of the + tailpiece. + + TONONI, Felice. Bologna, 1670-90. He worked with his son Giovanni; + their violoncellos have a great reputation in Italy. + + TONONI, Giovanni, son of Felice. Worked in Bologna till about 1705; + few instruments of his are to be found. + + TOPPANI, Angelo de. Rome, 1720-40. His instruments are rarely + seen, are similar to those of Techler, but more arched; varnish + golden-yellow; sound-holes are cut large. + + TORELLI. Verona, 1625. + + TORING (Torring). Maker and repairer of violins; London, 1800. + + TORTOBELLO, Francesco. Rome, 1680; Maggini pattern. + + TOULY, Jean. Nancy, 1730-47. Label: “Fait par moy Jean Touly à + Nancy, 1747.” + + TOURTE, François (“le jeune”); b. 1747, Paris; d. there, April + 1835. Was a younger brother of Xaver Tourte. (_See_ p. 163.) + + TOURTE, le Père. Settled in Paris about 1740. + + TOURTE, Xaver (l’aîné), eldest son of Tourte père. + + TRAPANI, Raffaele. Naples, 1810; workmanship is good; violins large + patterns, with prominent edges and heavy purfling; the scroll + Brescian type; varnish thick and of a red-brown colour. + + TRÉVILLOT, Claude. Mirecourt, 1698. + + TRINELLI, Giovanni. Italian. + + TRUNCO. Cremona, 1660. + + TRUSKA, Simon Joseph, 1734-1809, Raudnitz, Bohemia. Entered Strahow + Monastery, Dec. 8, 1758, taking the vows, Jan. 1, 1761. Became + proficient as a musician and composer, and then began to construct + instruments, making violins, altos, violas d’amore, and bass-viols. + + TUBBS, James. A maker of excellent bows, Wardour Street, London. + + TURNER, William. London in 1650; splendid wood. Label: “William + Turner, at ye hand and crown in gravelle lane neere Aldgate, + London, 1650.” + + TYWERSUS. Instruments are similar to those of Andrea Amati. Nicolas + Renault was a pupil of his. (_See_ p. 187.) + + + UGAR, Crescenzio. Rome in 1790; work is German in character; brown + varnish. + + UNGARINI, Antonio. Fabriano, 1762. + + URQUHART, Thomas. A maker in London about 1650-80; he was probably + a Scotchman. His work resembles that of Jacob Rayman, with whom + he may have worked, and shows great merit. His violins are of two + sizes, some on a small, others on a large pattern, very arched, the + corners not very prominent, the purfling narrow and placed close to + the edge; the oil varnish, of a yellowish-brown or sometimes red + colour, is of excellent quality, and is similar to Italian varnish; + the tone is clear and silvery. His violins and violas are rare, and + no violoncello of his has been seen. Urquhart is sure to rise in + value, and some of his work is splendid in finish. + + + VAILLANT (Vaillot or Vaillaut), François. Paris, 1736-83; good + workmanship; varnish poor. + + VALENTINE, William. London, died about 1877; made good + double-basses. + + VALLER. Marseilles, 1683. + + VANDELLI, Giovanni. Modena, 1796-1839; fair work. + + VANDERLIST. Paris, 1788-89. Guadagnini pattern and varnish. He + branded his name on his instruments. Label: “Luthier, rue des + Vieux-Augustins, près de l’égout de la rue Montmartre, Paris.” + + VAROTTI, Giovanni. Bologna, 1813. + + VARQUAIN. Paris, 1742. + + VAUCHEL, Joseph. Damm about 1840. He exhibited two violins at + Munich in 1854, which had a fine tone, and was awarded the medal of + honour. Hörlein was a pupil of his. + + VENZI, Andrea. Florence, 1636. + + VERBRUGGEN, Theodor. Is known as one of the makers in Antwerp in + 1641 by a double-bass which he made for use in the Cathedral. + + VERINI, Andrea. 1884. + + VERLE, Francesco. Padua about 1590. Label: “In Padova Francesco + Verle.” + + VERMESCH, le Père. Beaumont-sur-Oise in 1781. + + VÉRON, Pierre André. Paris about 1720-50; good work; pattern + Italian. + + VETRINI, Battista. Brescia about 1629; small pattern; wood is + excellent; good yellow varnish. + + VETTER, Jeane Christophe. Strasburg in 1744. + + VIARD, Nicolas. Versailles, 1790. + + VIBERT, J. B. Paris, 1775. + + VIBRECHT, Gysbert. Amsterdam, 1700-10. + + VILLAUME ET GIRON. In a violin of fairly good workmanship was the + printed label: “Villaume et Giron, Troyes, 170--.” + + VIMERCATI, Pietro. Do not confound with Gaspar, a lute-maker. A + maker in Brescia in the 17th century; is thought to have been + a pupil of Carlo Tononi in Venice; instruments arched; Maggini + pattern. + + VINACCIA, Antonio. The head of a family of makers; worked in + Naples, 1766-74; pattern of Gagliano. Two sons, Gennaro and + Gaetano, were also makers, but chiefly of mandolines. + + VINACCIA, Pasquale, son of Gaetano, 1806-81. + + VINCENZI, Luigi. Carpi in 1775. + + VIORILLO, Giovanni. Ferrara, 1780; followed Stainer pattern. + + VIR, Hieronimo di. Bresa, Silesia. + + VITOR, de. A maker in Brescia in 1740; instruments similar in + appearance to those of Maggini; large pattern; fine workmanship. + + VITUS DE ANGELIS. Bologna, 1609. + + VIVOLI, Giovanni. Florence, 1642. + + VOEL, E. Mayence, 1840; his instruments follow the Stradivari more + than the German pattern; general workmanship good. + + VOGEL, Wolfgang; d. Feb. 17, 1650, Nuremberg; instruments much + liked. + + VOGLER, Johan Georg. Würzburg in 1749. Label: “Johann Georg Vogler, + Lauten und Geigenmacher in Würzburg, 17--.” His son was the + celebrated Abbé Georg Joseph Vogler. + + VOGT. Good instruments, Vienna, in the Speigel-Gasse. + + VOIGT, Martin. Hamburg, 1726. His work is similar to that of + Tielke. A bass-viol, the back inlaid in ivory, having Apollo, + Venus, Mercury, and Diana represented, was dated Hamburg, 1726, and + was exhibited at the South Kensington Museum, London, 1872. + + VOIRIN, François Nicolas. 1833, at Mirecourt; 1885, Paris. After + working at Mirecourt, he went to Paris in 1855, and for fifteen + years made bows for J. B. Vuillaume; he obtained as “collaborateur” + a “mention honourable” at the 1867 Paris Exhibition; gold and + silver medalist, Paris, 1867 and 1878; followed the Tourte pattern, + but made the head of his bow less square; his workmanship shows + wonderful finish and elegance. He was awarded a silver medal at + the Paris Exhibition in 1878, the only prize given to bow-making; + and some of his bows exhibited after his death at the Antwerp + Exhibition were awarded a gold medal. He branded his bows with “F. + N. Voirin, à Paris”; to this was added, on those bows exhibited at + Paris, 1878, “Exposition, 1878.” + + VUILLAUME, Claude; b. 1772, Mirecourt; d. 1834. He is the first + member known of this family of violin-makers. + + VUILLAUME, Claude François, fourth son of Claude Vuillaume; b. + March 1807, Mirecourt. His son, Sébastien, was also a maker. + + VUILLAUME, Jean; b. 1700; d. 1740. A maker in Mirecourt; is said to + have been a pupil of Stradivari, but his work shows no sign of it. + + VUILLAUME, Jean Baptiste, eldest son of Claude Vuillaume. 1798, + Mirecourt; 1875, at Paris. (_See_ p. 110.) + + VUILLAUME, Nicolas, second son of Claude Vuillaume. 1800-71, + Mirecourt. Worked with Jean Baptiste, his elder brother, for ten + years at Paris. + + VUILLAUME, Nicolas François, third son of Claude Vuillaume. + 1802, Mirecourt; 1876, Brabant. He worked with his brother, Jean + Baptiste, Paris; made fair instruments, and was a fine copyist of + Stradivari. + + VUILLAUME, Sébastien, son of Claude François Vuillaume; b. 1835; d. + 1875, Paris. He was the last maker of this family, and continued to + make bows on the same pattern as Jean Baptiste Vuillaume, having + in his possession the machine for cutting bows which J. B. V. had + invented shortly before his death. Bronze and silver medals: Paris, + 1867; Havre, 1868. + + + WAGNER, Benedict. A maker of lutes and violins in Estwangen in 1769. + + WAGNER, Joseph. Constance, 18th century. + + WALDANER. Fussen, 1770. + + WALTER, Jean. Paris, 1775-1800. + + WAMSLEY, Peter. A maker in London about 1715-51. He had at one time + a great reputation, especially for his violoncellos. He copied the + Stainer pattern very closely, and also made a few imitations of + Stradivari instruments; but in his attempts to obtain an Italian + quality of tone he thinned the wood too much, making the tone sound + hollow. His violoncellos with thicker wood have a fine tone, so + have his double-basses; the latter are rare, and generally have red + varnish. + + WEAVER, Samuel. London; known by his printed label, “All sorts of + musical instruments made and sold by Saml. Weaver on London Bridge.” + + WEICKERT. Halle, 1800. + + WEIGERT, Johann Blasius. Linz, 1721; a viola d’amore known, + labelled: “Joann Blasius Weigert Lauten und Geigenmacher in Linz, + 1721.” + + WEISZ (Weiss), Jacob. Salzburg, 1733-61. + + WENGER, Gregor Ferdinand. Salzburg, 1750-60. + + WENGER. Padua, 1622. + + WETTENENGEL, Gustav Adolph. Neukirchen, Saxony, 1828. He wrote an + excellent practical treatise on violin-making. + + WEYMANN, Cornelius. Amsterdam, 1682. + + WIDHALM (Withalm), Leopold. Nuremberg, about 1750-80; imitated + Stainer; wood carefully chosen, sometimes too thin; the varnish red + colour, good quality. Several of his violins have double purfling, + and are branded with his initials inside. + + WIGHTMAN, George. Only known by his label: “George Wightman, Wood + Street, London, 1761.” + + WILLEMS, Hendrick. Ghent, Belgium, 1650-1700. An alto of large + pattern has remarkably fine wood used for the belly; the corners + are prominent and squared at the end; Brescian model; the neck ends + in a lion’s head; the outline and the beautiful finish could almost + be mistaken for Italian work, but the varnish is too dry. Nearly + all his instruments have beautiful wood for the belly, but walnut, + lime-tree, or plane-tree wood is frequently used for the back and + the sides, especially in the case of the basses. + + WILLEMS, Hendrick. Ghent; some time after the previous Hendrick + already mentioned. He made a violoncello or bass with five strings, + labelled: “Heyndrick Willems tot Ghendt, 1717.” A violin, dated + 1743, had the belly made of carefully selected pine, the back of + walnut, and the sides (very exceptional) of maple. + + WILLEMS, Jooris. Ghent, 1630-65; a cornet-player, 1634-71. The + first mention of him is in August 1634; used lime-wood and + finely-figured maple; Italian style. + + WILLER. Prague, 18th century. + + WISE, Christopher. Transition maker of viols and violins in London, + 1656; small pattern, not much arched; yellow varnish, good quality; + careful work. Label: “Christopher Wise, in Half-Moon Alley, without + Bishops-Gate, London, 1656.” + + WITHERS, Edward. He succeeded to William Davis’s business at 31 + Coventry Street, London, in December 1846. Both Charles Maucotel + and Boullangier worked under him at one time. + + WITHERS, Edward, eldest son of Edward Withers, b. Oct. 22, 1844. + Pupil of his father and John Lott. Commenced business at 31 + Coventry Street, London, in 1856; makes about twelve instruments + per year, on the Stradivari and Guarneri patterns, using good oil + varnish, amber colour. + + WITTING, Johann Georg. Mittenwald, about 1775; his instruments are + well made; dark varnish. + + WORNUM, Robert, 1742-1815. A music-seller in Glasshouse Street, + also a violin and violoncello maker. + + WORTE, Matthias. Augsburg, 1639. + + WRIGHT, Daniel. London, 1745. Label: “Made by Daniel Wright in + Holborn, London.” + + + ZACH. Vienna; makes good instruments. + + ZANFI, Giacomo. Modena, 1756-1822. + + ZANOLI, Giacomo. Padua, 1740. + + ZANOLI, Giambattista. Verona, 1730; rough work; German style. + + ZANOTTI, Antonio. Lodi and Mantua, 1734. + + ZANOTTI, Giuseppe. Piacenza, 18th century. + + ZANTI, Alessandro. Mantua, 1770; Stradivari pattern; poor varnish. + + ZENATTO, Pietro. Treviso, 1634. + + ZIMBELMANN, Filippo. Florence, 1661. + + ZIVERGER (Zwerger), Anton. Mittenwald, 1750; good wood; dark + varnish; fair finish. + + + + + BIBLIOGRAPHY + + +It is very difficult to define my obligations to previous writers +and advisers when I owe almost everything to them; but I am bound +to state specially, that without Messrs Hill & Sons’ assistance and +counsel, and the works of Fétis, Vidal, George Hart, Heron-Allen, and +Mr Fleming, I could not have written this book at all. The preceding +list of makers has been largely adopted from Miss Stainer’s elaborate +Music Primer, “Violin Makers,” published by Novello. + + +ENGLISH. + +HAMILTON, J. A. Hamilton’s “Catechism for the Violin.” London, 1848. R. +Cocks & Co. Fifteenth Edition, 1883, contains Preface by John Bishop. + +FÉTIS, FRANÇOIS JOSEPH. “Biographical Notice of Nicolo Paganini.” +Includes a sketch of the history of the violin. Schott & Co. 8vo. + +JOUSSE, J. “Theory and Practice of the Violin.” London, 1811. + +MACDONALD, JOHN. “Practice and Theory of the Violoncello” (printed for +Author). London, 1811. Appendix, 1815. Also “A Treatise on the Harmonic +System, Divisions of Strings, &c. &c.” London, 1822. + +OTTO, JACOB AUGUSTUS. “Treatise on the Construction, Preservation, and +Repairs of the Violin.” London: Longmans, 1833. + +DUBOURG, GEORGE. “The Violin.” H. Colburn. London, 1836. Small octavo, +fifth edition. Enlarged by John Bishop, of Cheltenham, 1878. R. Cocks. + +MACKINTOSH. “Remarks on the Construction and Materials employed in the +Manufacture of the Violin.” Dublin, 1837. 8vo pamphlet. + +PAINE, JOHN. “A Treatise on the Violin.” Printed for the Author, 1850. + +PURDY, GEORGE. “A Few Words on the Violin.” W. G. Goulburn, 1858. + +SANDYS, WILLIAM, and FORSTER, SIMON ANDREW. “The History of the +Violin.” London, 1864. J. R. Smith, Addison, & Lucas. Large 8vo. + +FÉTIS, FRANÇOIS, JOSEPH. “Notice of Anthony Stradivari.” R. Cocks. +Large 8vo. 1864. + +PEARCE, JOSEPH, jun. “Violins and Violin-makers.” Longmans, 1866. + +ADZE, WILLET. “Musical Notes,” including “Violinists” and “The Violin +and its History.” London, 1869. R. Bentley. + +DAVIDSON, PETER. “The Violin.” Pitman: Edinburgh, Aberdeen, 1871. Small +octavo. Fourth edition, 1881. + +READE, CHARLES. “A Lost Art Revived.” Gloucester, 1873. John Bellowes. +Large 8vo. + +GOFFRIE, CHARLES. “The Violin.” Philadelphia, U.S.A., 1876. G. André & +Co. 8vo pamphlet. + +SMITH, H. P. “The Construction of the Violin.” Syracuse, U.S.A., n.d. +(1877). Roblee & Co. + +SCHEBEK, DR EDMUND. “The Violin Manufacture in Italy and its German +Origin.” London, 1877. W. Reeves. Large 8vo pamphlet. + +BROADHOUSE, JOHN. “Facts about Fiddles.” London, n.d. (1879). W. Reeves. + +PORTER, THOMAS. “How to Choose a Violin.” London, n.d. (1879). F. +Pitman. 8vo. + +NICHOLSON, J. “Designs and Plans for the Construction and New Model of +Violin, and Arrangement of the New Model Violin.” London, 1880. Printed +by H. K. Lewis. Large folio. + +HART, GEORGE. “The Violin, its Famous Makers.” London, 1875, 1884, +1880. Dulan & Schott. Large post 4to and small 8vo. + +HART, GEORGE. “The Violin and its Music.” London, 1881. Dulan & Schott. + +GEMÜNDER, GEORGE. George Gemünder’s “Progress in Violin-making.” +Astoria, New York, 1881. Published by the Author. + +READE, CHARLES. “Jack of All Trades.” London, 1882. Chatto & Windus. + +HERON-ALLEN, EDWARD. “Opuscula Fidicularum.” London, 1882. Mitchell & +Hughes. + +HERON-ALLEN, EDWARD. “De Fidiculis Opusculum” II. London, 1883. +Mitchell & Hughes. + +HERON-ALLEN. “Markneukirchen Arts and Crafts Book” (translated). + +HILL & SONS. (1) “The Messie,” (2) “The Tuscan,” (3) “Gio. Paolo +Maggini.” Novello, Ewer & Co. + +CHANOT, GEORGES. “Hodges _v._ Chanot.” London, 1882. Mitchell & Hughes. +Large 8vo pamphlet. + +ENGEL, CARL. “Researches into the Early History of the Violin Family.” +London, 1883. + + +ITALIAN. + +ZANNETI, GASPARO. “Il Scolaro.” Milan, 1645. + +TARTINI, GIUSEPPE. A Letter from the late Signor Tartini to Signora +Maddalena Lombardini, translated by Dr Burney. London, 1771. R. Bremner. + +BAGATELLA, ANTONIO. “Regole per la Costruzione de’ Violini, Viole, +Violoncelli, et Violoni.” Padova, 1786. A spese dell’ Accademia. + +PANCALDI, CARLO. “Progresso Italiano nella Costruzione del Violino +operato da Antonio Gibertini da Parma.” Palermo, 1845. Tipografia +Maddalena. Small 8vo. + +REGLI, FRANCESCO. “Storia del Violino in Piemonte.” Turin, 1863. Enrico +Dalmazzo. Large 8vo. + +LOMBARDINI, PAOLO. “Cenni sulla celebre scuola Cremonese degli +stromenti ad arco.” Cremona, 1872. Tipografia dalla Noce. Large 8vo. + +RINALDI, BENEDETTO-GIOFFREDO. “Classica Fabbricazione di Violini.” +Turin, 1873. Rinaldi. Large 8vo pamphlet. + +VALDRIGHI, LUIGI FRANCESCO. “Liuteria Modenese antica e moderna.” +Modena, 1878. Toschi. 8vo. + +---- Musurgiana No. 9. “Strumenti ad arco Rinforzati.” Modena, 1881. G. +T. Vincenzi e Nep. Large 8vo pamphlet. + + +FRENCH. + +ROUSSEAU, JEAN. “Traité de la Viole.” Paris, 1687. Ch. Ballard. 8vo. + +LEBLANC, HUBERT. “Défense de la basse de Viole contre les Entreprises +du Violon et les pretensions du Violoncelle.” Amsterdam, 1740. P. +Mortier. 16mo. + +JACQUOT, A. “Music in Lorraine.” + +TERRASSON, A. “Sur la Vielle.” Paris, 1741. + +LECLAIR, JEAN MARIE. “Tablature idéale du Violon.” Paris, 1766. 8vo. + +SIBIRE, L’ABBÉ. “La Chelonomie.” Paris, 1806. Brussels, chez l’Aullur +et Millet. Second Edition, 1823. Weissenbruch. 8vo. + +CHANOT, FRANÇOIS. “Rapport fait à l’Académie des Beaux Arts 3 Avril +1819.” Paris, 1819. 4to. + +CONTANGER (LE DR HENRI). Gaspard Duiffoprugcar et les Luthiers lyonnais +du xvi^e Siecle. Paris, 1893. Fischbacher. + +SAVART, FÉLIX. “Mémoire sur la Construction des Instruments à Cordes et +à Archet.” Paris, n.d. (1819). Roret. 8vo. + +MAUGIN, J. C. “Manuel du Luthier.” Paris, 1834. Roret 12mo. + +MAUGIN, J. C., et MAIGNE, W. “Nouveau Manuel Complet du Luthier.” +Paris, 1869. Roret. + +DESMARAIS, CYPRIEN. “Archéologie du Violon.” Paris, 1836. Dentu et +Sapia. Large 8vo pamphlet. + +FOURGEAUD, ALEXANDRE. “Les Violons de Dalayrac.” Paris, 1856. Leclerc. +Large 8vo pamphlet. + +[YOUSSOUPOW, PRINCE.] “Luthomonographie Historique et Raisonnée.” +Frankfort S/M., 1856. Ch. Fugel. Large 8vo. + +GALLAY, JULES. “Les Instruments à Archet à l’Exposition Universelle de +1867.” Juanst. 8vo. + +GRIVEL, VICTOR. “Vernis des Anciens Luthiers.” Grenoble, 1867. F. +Allier. 8vo. + +GALLAY, JULES. “Les Luthiers Italiens.” Nouvelle édition du Parfait +Luthier de l’Abbé Sibire. Paris, 1869. Académie des Bibliophiles. + +PLASSIARD, J. A. “Des Cordes du Violon.” Lille, 1876. Danet. + +VIDAL, ANTOINE. “Les Instruments à Archet, les Faiseurs, les Joueurs +d’Instruments, leur Histoire sur le Continent Européen.” Suivi d’un +Catalogue générale de la Musique de Chambre. Orné de planches gravées +à l’eau forte par Frédéric Hillemacher. Paris, 1876: J. Claye. 3 vols. +4to. Edition-de-luxe. + +COPPÉE, FRANÇOIS. “Le Luthier de Cremone.” London, 1880. Dulan & Co. +12mo. + +SIMOUTRE, N. E. “Aux Amateurs du Violon.” Bâle, 1883. G. A. Bonfantini. + + +GERMAN. + +REICHARDT, JOHANN FRIEDRICH. “Ueber die Pflichten des +Ripien-Violinisten.” Berlin und Leipzig, 1776. G. J. Decker. + +BAGATELLA, ANTONIO. “Ueber den Bau der Violine.” Leipzig, n.d. (1806). +Kuhnel. 8vo. + +WETTENGEL, GUSTAV ADOLPH. “Neuer Schauplatz der Künste und Handwerke.” +Ilmenda, 1828. B. F. Voigt. + +BACHMANN, OTTO. “Theoretisch-praktisches Handbuch des Geigenbaues.” +Leipzig, 1835. G. Basse. + +BAADER, J. “Chronik des Marktes.” Mittenwald. + +ABELE, HYACINTH. “Die Violine.” Neuberg A/D., 1864. A. Zrechter. Small +8vo. + +SCHUBERT, F. L. “Die Violine.” Leipzig, 1865. Merzeburger. + +DIEHL, NICOLAUS LOUIS. “Die Geigenmacher der Alten Italienischen +Schule.” Hamburg, 1866, 1877. J. F. Richter. + +WETTENGEL, GUSTAV ADOLPH. “G. A. W.’s weil Violin-bogenmachers zu +Markneukirchen.” Weimar, 1869. B. F. Voigt. + +WASIELEWSKI, JOSEPH WILHELM VON. “Die Violine im XVII. Jahrhundert.” +Bonn, 1874. M. Cohen. + +RITTER, HERMANN. “Die Viola Alta.” Heidelberg, 1876. G. Weiss. 4to. + +NIEDERHEITMANN, FRIEDRICH. “Die Meister der Geigenbaukunst in Italien +und Tyrol.” Hamburg, 1876. Aug. Cranz, 1876. + +---- Cremona. “Eine Charakteristik der Italienischen Geigenbauer.” +Leipzig, 1877. Carl Merzeburger. 8vo. + + + + +DESCRIPTION OF PLATES + + +PLATE I (_to face page 18_) + +A Duiffoprugcar viol da Gamba, owned by Mr George Donaldson. This +matchless antique is doubtless one of many, but most of the rest +have perished; it stands almost alone as a poetic specimen of the +phantasy of the old viol makers. It is elaborately decorated on the +back, after the taste of the period, with an excess of ornament, +which the fine instinct of the subsequent makers of violins rejected +as prejudicial to tone. The habit of adopting a creature’s head, +or a face, for a scroll long lingered, and is not unknown in the +work of Stradivarius. In England numerous copies of Duke that have +been palmed off as original have lion heads. These instruments were +usually “made in Germany,” and it appears to have been a favourite +practice there to use such carved scrolls. + + +PLATE II (_to face page 38_) + +A Maggini violin (the “De Beriot”) owned by Mr Antonietti. The +Maggini here given is an admirably preserved specimen of the great +Brescian master, who, next to Stradiuarius, did more than any one +man to inspire and define the ideal shape, from which even the Amati +at first departed, but which Strad had the genius to restore and +perfect. The corners, however, have been rubbed, and not in every +case renewed, otherwise it is in as perfect a condition as can be +expected in so old a fiddle. The scroll is cut with a care and an +advanced finish which reminds us of the bolder Strad period, 1700-30. +Maggini, oddly enough, was little honoured in the first quarter of +this century, but De Beriot had the insight to discern his merits; +and from the time he adopted him for his masterly and full-toned +performances, the Magginis rose, and have been continuing to rise, in +public estimation. + + +PLATE III (_to face page 50_) + +Her late Majesty’s Amati tenor is in beautiful condition; it is +elaborately ornamented, in lieu of the usual purfling. It was, +doubtless, originally made to order for some great prelate; and it +bears on its back a noble coat of arms hardly decipherable, and the +image of John Baptist carrying a lamb (“Behold the Lamb of God!” John +i. 36). The instrument was used in Her late Majesty’s private band +by Mr Hann (1898). Like many old viols it has been somewhat reduced +in size. For the loan of this instrument I am indebted to the good +offices of Sir Walter Parratt, director of the late Queen’s private +band. + + +PLATE IV (_to face page 58_) + +Paganini’s Joseph Guarnerius. This is a fine and very characteristic +specimen of the mighty Del Gesù. It is in his most powerful and +massive style (the head almost brutal in its bull-dog strength), with +full rich colour thickly laid on to match. Seldom, indeed, do we find +so much varnish left on the back of so old a violin. The instrument +has been very carefully dealt with. The story of how it passed into +Paganini’s hands is well known. An Italian amateur, who evidently +knew its value, lent it to the great maestro, and, after hearing its +marvellous qualities, as drawn forth by the Magician of the Violin, +declared that no other hand should henceforth set its chords in +vibration. Paganini left it to his native town of Genoa, and there it +may still be seen in the Town Hall. It was his favourite instrument; +and the giant Joseph Guarnerius was well matched with the giant +Nicolo Paganini. + + +PLATE V (_to face page 66_) + +The Rode and Spanish violins and the Spanish tenor, it will be +observed, are all inlaid. Strad was no bigot, and although we may +confidently assert that he disapproved of all inlaying or decoration +on the bellies or backs, and confined it to its narrowest limits +when resorted to in lieu of the usual strip of purfling, he probably +judged that if it did not encroach upon the vibratory surfaces much +beyond a common purfle, it was comparatively harmless. It is likely +that the Rode Strad, whose history I am unable to record, was made +for Royalty or some great Prince Cardinal of the Church, the extra +decoration being considered due to the high rank of the patron, or +wrought in obedience to a special request. We have many evidences +that Strad was not above pleasing the individual whims of his +clients. He was himself an expert carver, and could inlay with the +best of them when he chose. The Rode Strad was sold to Messrs Hill +by M. Lamoureux, the eminent French conductor, and by them to Dr +Oldham of Brighton. The Strad ’cello is a good specimen of Strad’s +improved bass model. The size is brought down characteristically, and +the comparative smallness of the upper, contrasting with the ample +development of the lower part, gives the instrument an appearance of +lightness and grace; whilst the delicate and somewhat narrow head, +with its sufficiently massive and finely cut out scroll, admirably +balances the whole to the eye with a certain “chic” quite _a la +Strad_. + + +PLATE VI (_to face page 68_) + +This plate contains profiles of the three Strads shown in Plate V., +and is interesting as displaying the variety exhibited in Strad’s +scroll carving. The Spanish Strad has quite an Amatisé scroll, long, +light, and very restrained, and undeveloped at the lower extremity. +Notice the greater freedom of the Rode scroll, quite in Strad’s best +manner. The Rode model is also flatter in the back, but the bellies +are all flat in the approved style, after the earlier Amati groove +had almost entirely disappeared from the Cremona model. + + +PLATE VII (_to face page 82_) + +A Panoramic View of Cremona, taken outside Porto Po from the banks of +the river, and engraved about 1830 by Caporali. Names of buildings, +counting from the right of the print: 1. Church of S. Pietro; 2. +Tower of the old prisons near the Town Hall; 3. Battisterio; 4. +Cathedral; 5. Town Hall Tower; 6. Torrazzo, the Cathedral Tower, +the highest in Italy; 7. Church of S. Marcellino; 8. Church of S. +Domenico; 9. Church of S. Agostino; 10. Church of S. Lucca; 11. +Church of S. Omobono, patron of the town; 12. Church of S. Agata; 13. +Church of S. Ilario; 14. Church of S. Luca. Signor Sacchi, a native +of Cremona, has kindly identified all the above for me. + + +PLATES VIII AND IX (_to face pages 106, 110_) + +These portraits of Tourte, Lupot, Vuillaume, and Ebsworth Hill being +fully dwelt on in the text, need no further comment. + + +PLATE X (_to face page 162_) + +This plate of backs, bellies, and bows, has been fully explained in +the text. + + +PLATE XI (_to face page 182_) + +Portraits of Paganini abound. Landseer sketched a series, which, +however, are slightly of the nature of caricatures. It was difficult +to do otherwise. The Maestro’s features were so marked, his long +hair so weird, the tall forehead, the wide sensitive mouth, the dark +eyes, the ungainly and gaunt, almost dislocated attitudes of the man +lent themselves freely to a lively and not always sympathetic or +respectful pencil. The portrait, a rare one, here produced, hits the +happy mean. The finest representation of him is, however, Danton’s +small bust (admirably reproduced by Mrs Haweis’ pencil in “My Musical +Life,” where see my biographical study of Paganini). + + +PLATE XII (_to face page 238_) + +For a fuller list of labels, the “Collector” had better consult Mr +Vidal’s most valuable book referred to in our Bibliography, from +which our seven specimens are reproduced. I may observe that a +forged fiddle may often have what purports to be a genuine label. A +reference, therefore, to these facsimiles may be useful. + +Buyers should also beware of labels bearing dates _posterior_ to the +death of the alleged makers. I have seen Stainer’s so decorated. +Stainer labels in two different sorts of type, _i.e._, the name in a +running type and the rest in print, are never genuine. Duke copies of +Stainer, often very good ones, sometimes present this peculiarity. +Notice that Gasparo and Gio Paolo Maggini never _dated_ their +instruments. There exist numerous dated copies of Maggini--generally +recent copies--De Beriot having brought the great Gio into notice. +These are all frauds. + +Stradiuarius changed his labels late in life, using a _v_ instead +of _u_, and spelling Stradivari or Stradivarius. This is called the +cursive _v_. Some Stradivarius-labelled violins have all the figures +of the date _printed_, _e.g._, 1712. These are forgeries. The last +two figures in the real labels being always filled up in ink, which +has much faded. It does not, however, follow that all thus filled in +are genuine--indeed, most are frauds. A particularly favourite date +for forged Stradivari labels is 1721. + + + + +INDEX + + + Albani, 102 + + Aldric, Paris dealer, 174 + + Aireton, 124 + + Amateurs, their opinions, 225 + + Amati, the, 43, 44, 47 + + Americans, their wood, 233 + + Artôt’s Strad, 75 + + + Balzar, great violinist, 122 + + Band, Charles II.’s, 121 + + Banks, English maker, 130 + + Barak Norman, English maker, 125 + + Bernadel, French maker, 109, 189 + + Betts, English maker, 133 + + Bisexual violin nature, 22 + + Boquay, French maker, 105 + + Bows, _see_ Chap. XI. + + Buying fiddles, 235 + + + Carlo Bergonzi, 83; + supremacy, 230; + gems, 173; + influence, 94 + + Charles II.’s court, influence on music, 121 + + Charles Reade, 180, 217 + + Children, their fiddles, 68 + + Collecting mania, 12 + + Completeness of violin, 7 + + Control of violin, 9 + + Convalescent fiddles, 200 + + Cracked fiddles, 198 + + Cremona city, 42 + + Cremona gems, discovery of, 173 + + Cremona influence, 94 + + Cross, English maker, 125 + + + Dealers, _see_ Chap. XV. + + Dodd, bow-maker, 133, 166 + + “Dolphin,” a celebrated Strad, 74 + + Duiffoprugcar, old maker, 12; + his viol da Gamba, 19 + + Duke, English maker, 132 + + + Elector fiddles by Stainer, 97 + + English makers, _see_ Chap. VIII. + + + “False” strings, 156 + + Fendt, Bernard, 132 + + Fiddles and umbrellas, 214 + + Fiddle flukes, 220 + + Fiddle frauds, 223 + + Fiddle judges, 224 + + Fiddles, new and old, secret of, 227, 233 + + Fingerboard, 207 + + “Finish” of old makers, 26 + + Foster, the family of, 126-127, &c. + + France, violins in, _see_ Chap. VII. + + François Tourte, bow-maker, 164 + + + Gagliano, 89 + + Gand, French maker, 109, 189 + + Gasparo da Salo, 30 + + Genesis of violin, _see_ Chap. I. + + German strings, 158 + + Germany, fiddle-makers, _see_ Chap. VI. + + Geronimo Amati, 44 + + Gillott’s Mr, collection, 217 + + Giuseppe or Joseph Guarnerius, 53 + + Goding’s, Mr, collection, 178 + + Golden Strad period, 73 + + Guadagnini, 86 + + Guarneri family, 51 + + Guild of Markneukirchen, 194-197. + + + Hart, John, dealer, 180 + + Hill, William Ebsworth, 133 + + Holmes, Oliver Wendell, 226 + + Horses, fiddles and umbrellas, 214 + + + Ignorance and neglect, 215 + + + Jaques, French maker, 105 + + Jay, English maker, 124 + + Jean and Nicolas Medard, 187 + + Joseph or Giuseppe Guarnerius, 53 + + + Kennedys, the English, 1872 and 1885, 218; + makers, 124 + + Klotz family, 101, 191 + + + Landolpho, Italian, 216 + + Lott, John, English, 219 + + Luigi Tarisio, rediscoverer of Cremonas, 179, 181; + _see_ Chap. XIV. + + Lupôt, French maker, 106, 168-188 + + + Maggini, early Brescian maker, 32-40 + + Mantegazza, Venetian maker, 90 + + Manufacture of strings process, 155 + + Markneukirchen, early home of violin manufacture, 186, 193 + + “Master” Reiter, Mittenwald maker, 192 + + Maucotel, French, 188 + + Medard, early Tyrol maker, 187; + _see_ Chap. XIII. + + Menegand, French, 188 + + “Messie,” a great Strad violin, 77 + + Mirecourt, early home of violin manufacture, 189 + + Mittenwald violin manufacture, 186 + + Montagnana, Venetian maker, 87 + + Mutes or sordini to deaden sounds, 159 + + + Neglect of English makers, 118 + + Neglect of violins, 215 + + New fiddles, 227, 233 + + Nicolas Lupôt, _see_ Lupôt. + + Nicolo Amati, the best of the family, 47 + + Norman, _see_ Barak Norman. + + + Oliver Wendell Holmes, a letter, 226 + + Ouri, the violinist, 170 + + Over-restoration, 203 + + + Paduan strings, 158 + + Paganini, 9-56, 182 + + Pamphilon, English maker, 124 + + Panormo, maker of guitars and fiddles, 124 + + Paris, Vuillaume and Tarisio at, 176-178 + + Parker, English maker, 124 + + Peccate, Italian maker, 169 + + Pernambuco wood for bows, 161 + + Personal fascination in violin-playing, secret of it, 11 + + Pieray, 105 + + Pique, French maker, 108 + + Prelude and postlude, 7, 237 + + “Pucelle,” a celebrated Strad, 78 + + + Reade, _see_ Charles Reade. + + Reiter, _see_ “Master.” + + Remenyi, violinist, 170, 224 + + Restoration, 203 + + Revarder, Mirecourt maker, 188 + + Rosin, treatment and use of, 202 + + Rugerius, Italian maker, 50 + + + Salo, early violin centre, 30 + + Savart’s experiments, 25 + + Scale of prices, 236 + + Secret or old violins, 228 + + Sound qualities of old and new violins, 227 + + South Kensington Collections, _see_ Kensington. + + Stainer, _see_ Chap. VI. + + Stainer, Miss, “Violin Manual,” 189 + + Stradivarius, _see_ Chap. V. + + Strange finds, 77 + + String gauge, 154 + + Strings, violin, _see_ Chap. X. + + Story of the Markneukirchen Guild, 194-197 + + Subdivision of labour a cause of decline, 231 + + + Tarisio, _see_ Luigi, 179, and Chap. XIV. + + Techler, German school, 102 + + Thibouville-Lamy, French maker, 189 + + Tourte, bow-maker, 164 + + Treatment of violin, _see_ Chap. XIV. + + Tubbs, bow-maker, 169 + + “Tuscan,” the celebrated Strad, 69 + + + Urquhart, English maker, 124 + + + Varnish, _see_ Chap. IX. + + Violin constitution, _see_ Chap. II. + + Violin dealing and collecting, _see_ Chap. XV. + + Violin progress, _see_ Chap. I. + + Violin rise, _see_ Chap. I. + + Violin treatment, _see_ Chap. XIV. + + Viols, _see_ Chap. I.; + English, 119 + + Vision of Stradivari, 79 + + Vuillaume, 110, 168 + + + Walmesley, English maker, 125 + + + PRINTED BY OLIVER AND BOYD, EDINBURGH + + + + + _Uniform with this Volume_ + + Fine Prints + + By Frederick Wedmore + + With 12 Plates. 7s. 6d. net + + Illustrations by Examples after Mantegna, Marc Antonio, Schöngauer, + Dürer, Beham, Lucas van Leyden, Rembrandt, Watteau, + Chardin, Reynolds, and Turner. + +CONTENTS: Introduction--The Task of the Collector--Claude, +Vandyke, Ostade, Hollar--Rembrandt (Illustrations)--French Revival +of Etching (Illustrations)--Whistler and Haden--Later English +Etchers--Dürer: The “Little Masters” (Illustrations)--Italian +Line Engravers (Illustrations)--French Eighteenth Century Prints +(Illustrations)--Turner Prints (Illustrations)--Mezzotints +(Illustrations)--Lithographs--Appendix: Certain +Woodcuts--Postscript--Bibliography--Index. + + “The ‘collector of moderate means,’ for whose special behoof the + volumes of the Collector Series are designed, will take pleasure + and find profit in the admirable guide to Fine Prints which Mr + Frederick Wedmore has written for Mr Redway. It maps out the ground + for him who would go forth on the delightful quest of rare and + beautiful etchings, line engravings, and mezzotints; and at every + turn it gives him valuable hints and directions.”--_Scotsman._ + + “It gives a bird’s-eye view of a large and important subject for + the benefit of the man of taste. Mr Wedmore is a well-known art + critic, and altogether a competent hand for the undertaking. + He discusses the work of the masters of engraving, ancient and + modern, including even the great lithographers.... A capital index + completes a model volume of its kind. The work contains many + beautiful reproductions from the best engravings of some of the + best men, rendered with admirable fidelity in the different styles + of line, mezzotint, and etching.”--_Daily News._ + + _The Magazine of Art_ says:--“Mr Wedmore is one of the few + professional writers in England with a truly refined and + appreciative knowledge of prints--possessing that more eclectic + sense proper for the cult. As a guide he may be confidently + commended to the reader, who will not fail to admire the delicacy + and tact with which Mr Wedmore handles the necessarily commercial + side of the subject. He deals adequately with the great Dutch + and French periods of etching, the recent revival of that art in + England, our great period of mezzotint, and line engraving in + Italy, as well as the prints of Turner, lithographs of the present + day, and famous woodcuts of the past.” + + + + + _Uniform with this Volume_ + + The Coin Collector + + By W. Carew Hazlitt + + _New and Revised Edition_ + + Illustrated with 12 full-page Plates depicting 129 Rare Pieces + + _Pub. 7s. 6d. net_ + + +CONTENTS + +Introductory--Collectors and Collections--Value of Coins--Unique or +Remarkable Coins--Greek Coins--Rome--Continent of Europe--United +Kingdom--The Coin Market--Terminology--Bibliography--Description of +Plates--Index. + + “Mr Hazlitt is an expert in regard to coins; his book from the + practical standpoint is trustworthy.”--_Notes and Queries._ + + “We may say at once that we have a very interesting and instructive + volume before us. The subject is, of course, only lightly + touched upon, and no attempt at dealing with any section of it + in detail is made. This is as it should be in a book on coins in + general.”--_Antiquary._ + + “Perhaps as excellent an introduction to the study of a delightful + pursuit as could have been written.”--_Daily Telegraph._ + + “Abreast of the latest discoveries and theories, and is sure + of a welcome from the general reader as well as from the + collector.”--_Scotsman._ + + “This admirable volume gives a bird’s-eye view of the whole. It is + clear that Mr Hazlitt is not only an enthusiast in the subject of + his book, but also a student whose knowledge is at once singularly + wide and remarkably accurate.”--_Publishers’ Circular._ + + + + + The Book Collector + + By W. Carew Hazlitt + + A General Survey of the Pursuit, and of those who have engaged in + it, from the Earliest Period to the Present Time; with an Account + of Public and Private Libraries, and Anecdotes of their Founders or + Owners, and Remarks on Bookbinding and on Special Copies of Books, + illustrated with a beautiful photogravure of a famous sale of books + at Sotheby’s, square cr 8vo, art canvas, gilt top, fore and under + edges uncut + + _Pub. 7s. 6d. net_ + + +“As Mr Hazlitt shows, his field of choice is wide enough. Ancient +typography fascinates some, but here a long purse is needed. Bibles +and Testaments, Liturgies, Books of Hours, or similar devotional +works appeal to others. The British Museum Library, for instance, +is singularly rich in editions in all languages of the ‘Imitatio +Christi.’ Books of travel, of voyages, and on topography, such as +county and town histories, have all their devotees, and of late +years the search for Alpine literature has become so much keener +that some books, printed barely forty years ago, have quite doubled +their published price. Yet even the systematic collector, as Mr +Hazlitt tells us, often runs risks. Here, as among all things human, +fashions and whims exist, and a particular class of literature may +have ‘booms’ and ‘slumps,’ like certain ‘stocks’ of a questionable +character. The books, for instance, in William Morris’s library were +‘below mediocrity in state,’ and of little intrinsic value, yet +they excited keen competition, and went for sums ‘which were simply +absurd.’”--_Standard._ + +“The subject abounds with stories, for, indeed, in a sense which the +author of the aphorism little imagined, _habent sua fata libelli_. +We might fill columns with curiosities about the buying and selling +of books from these pages. Mr Hazlitt, however, is not of the +non-literary collectors; no man could write such a book as this about +the subject if he were. Readers, therefore, as well as buyers, may +find ‘The Book Collector’ to their taste. Then there is the eleventh +chapter, with its many interesting anecdotes of inscriptions; +often the casual name or note which some purchaser or owner of a +bye-gone time has written will be of more interest than the volume +itself.”--_Spectator._ + +“There is pleasure nevertheless--nay, much intellectual and +sometimes pecuniary profit--in the pursuit, when intelligently +pursued. Mr Hazlitt discourses pleasantly on every side of +book-collecting, and his book will be valued by all interested in the +subject.”--_Chambers’ Journal._ + + +FOOTNOTES: + +[1] An unique set of instruments by the Amati family worthy of +mention is the quintett, composed of three violins, a viola, and a +violoncello, now (1898) in the possession of Miss Willmott. + +[2] This Fent is no relation, as far as is known, to the family +working in England, whose name is spelt Fendt. + +[3] A popular comedy (1898). + + + + +TRANSCRIBER’S NOTE + +Obvious typographical errors and punctuation errors have been +corrected after careful comparison with other occurrences within the +text and consultation of external sources. + +Some hyphens in words have been silently removed, some added, when a +predominant preference was found in the original book. + +Except for those changes noted below, all misspellings in the text, +and inconsistent or archaic usage, have been retained. + + p61-> ‘the boy Giuseppe Gaurneri’ amended to ‘the boy Giuseppe Guarneri’ + p105-> ‘Jaques Boquay’ amended to ‘Jacques Boquay’ + p278-> ‘he branded’ amended to ‘He branded’ + + +*** END OF THE PROJECT GUTENBERG EBOOK 78831 *** diff --git a/78831-h/78831-h.htm b/78831-h/78831-h.htm new file mode 100644 index 0000000..8a42e3a --- /dev/null +++ b/78831-h/78831-h.htm @@ -0,0 +1,14841 @@ +<!DOCTYPE html> +<html lang="en"> +<head> + <meta charset="UTF-8"> + <title> + OLD VIOLINS | Project Gutenberg + </title> + <link rel="icon" href="images/cover.jpg" type="image/x-cover"> + <style> + +body { + margin-left: 10%; 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+ page-break-inside: avoid; + max-width: 100%; +} + +/* Footnotes */ +.footnotes {border: 1px dashed;} + +.footnote {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} + +.footnote .label {position: absolute; right: 84%; text-align: right;} + +.fnanchor { + vertical-align: super; + font-size: .8em; + text-decoration: + none; +} + +/* Poetry */ +/* uncomment the next line for centered poetry */ +.poetry-container {display: flex; justify-content: center;} +.poetry-container {text-align: center;} +.poetry {text-align: left; margin-left: 5%; margin-right: 5%;} +.poetry .stanza {margin: 1em auto;} +.poetry .verse {text-indent: -3em; padding-left: 3em;} + +/* Transcriber’s notes */ +.transnote {background-color: #E6E6FA; + color: black; + font-size:small; + padding:0.5em; + margin-bottom:5em; + font-family:sans-serif, serif; +} + +/* Poetry indents */ +.poetry .indent0 {text-indent: -3em;} +.poetry .indent14 {text-indent: 4em;} +.poetry .indent2 {text-indent: -2em;} +.poetry .indent22 {text-indent: 8em;} + +/* Illustration classes */ +.illowp100 {width: 100%;} +.illowp44 {width: 44%;} +.x-ebookmaker .illowp44 {width: 100%;} +.illowp47 {width: 47%;} +.x-ebookmaker .illowp47 {width: 100%;} +.illowp48 {width: 48%;} +.x-ebookmaker .illowp48 {width: 100%;} +.illowp52 {width: 52%;} +.x-ebookmaker .illowp52 {width: 100%;} +.illowp53 {width: 53%;} +.x-ebookmaker .illowp53 {width: 100%;} +.illowp55 {width: 55%;} +.x-ebookmaker .illowp55 {width: 100%;} +.illowp56 {width: 56%;} +.x-ebookmaker .illowp56 {width: 100%;} +.illowp58 {width: 58%;} +.x-ebookmaker .illowp58 {width: 100%;} + + + </style> +</head> + +<body> +<div style='text-align:center'>*** START OF THE PROJECT GUTENBERG EBOOK 78831 ***</div> + + + + + +<div class="transnote"> +<p>TRANSCRIBER’S NOTE</p> + +<p>Some minor changes to the text are noted at the end of the book.</p> + +<p class="customcover">New original cover art included with this eBook is +granted to the public domain.</p> +</div> +<hr class="chap x-ebookmaker-drop"> + + +<p class="center"> +Collector Series</p><br> +<hr class="r5"> +<h1>OLD VIOLINS<br></h1> + + + +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> +<figure class="figcenter illowp48" id="i_003" style="max-width: 43.75em;"> + <img src="images/i_003.jpg" alt="Ornate title page with titles of +other books in this Collector series."> + </figure> + </div> + + +<table class="autotable fs80"> +<tr class="smcap"> +<td class="tdc">Autographs and<br>Manuscripts</td> +<td class="tdc">The Collector Series</td> +<td class="tdc">English Water-<br>Colours</td> +</tr> +<tr class="smcap"> +<td class="tdc">Stamps</td> +<td class="tdc">Tapestry Lace and<br>Embroidery</td> +<td class="tdc">Miniatures</td> +</tr> +<tr> +<td class="tdc"></td> +<td class="tdc"><br>OLD<br>VIOLINS</td> +<td class="tdc"></td> +</tr> +<tr class="smcap"> +<td class="tdc">Fine Prints</td> +<td class="tdc"></td> +<td class="tdc">English<br>Book Plates</td> +</tr> +<tr> +<td class="tdc"></td> +<td class="tdc smcap">by<br>Rev. H. R. Haweis</td> +<td class="tdc"></td> +</tr> +<tr> +<td class="tdc"></td> +<td class="tdc"><br>EDINBURGH<br>JOHN GRANT<br>1910</td> +<td class="tdc"></td> +</tr> +<tr class="smcap"> +<td class="tdc">Coins</td> +<td class="tdc"></td> +<td class="tdc">Pictures</td> +</tr> +<tr class="smcap"> +<td class="tdc"><br>Porcelain</td> +<td class="tdc"><br>Old Bibles</td> +<td class="tdc"><br>Ancient Glass</td> +</tr> +</table> + +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> +<p><span class="pagenum" id="Page_v">[Pg v]</span></p> + +<h2 class="nobreak" id="CONTENTS">CONTENTS</h2> +</div> + +<table class="autotable"> +<tr> +<td class="tdr"><span class="allsmcap">CHAP.</span></td> +<td class="tdl"></td> +<td class="tdr allsmcap">PAGE</td> +</tr> +<tr> +<td class="tdl"></td> +<td class="tdl smcap">Prelude</td> +<td class="tdr"><a href="#Page_7">7</a></td> +</tr> +<tr> +<td class="tdr">I.</td> +<td class="tdl smcap">Violin Genesis</td> +<td class="tdr"><a href="#Page_15">15</a></td> +</tr> +<tr> +<td class="tdr">II.</td> +<td class="tdl smcap">Violin Constitution</td> +<td class="tdr"><a href="#Page_22">22</a></td> +</tr> +<tr> +<td class="tdr">III.</td> +<td class="tdl smcap">Violins at Brescia</td> +<td class="tdr"><a href="#Page_30">30</a></td> +</tr> +<tr> +<td class="tdr">IV.</td> +<td class="tdl smcap">Violins at Cremona</td> +<td class="tdr"><a href="#Page_42">42</a></td> +</tr> +<tr> +<td class="tdr">V.</td> +<td class="tdl"><span class="smcap">Violins at Cremona</span> (<em>continued</em>)</td> +<td class="tdr"><a href="#Page_60">60</a></td> +</tr> +<tr> +<td class="tdr">VI.</td> +<td class="tdl smcap">Violins in Germany</td> +<td class="tdr"><a href="#Page_91">91</a></td> +</tr> +<tr> +<td class="tdr">VII.</td> +<td class="tdl smcap">Violins in France</td> +<td class="tdr"><a href="#Page_104">104</a></td> +</tr> +<tr> +<td class="tdr">VIII.</td> +<td class="tdl smcap">Violins in England</td> +<td class="tdr"><a href="#Page_118">118</a></td> +</tr> +<tr> +<td class="tdr">IX.</td> +<td class="tdl smcap">Violin Varnish</td> +<td class="tdr"><a href="#Page_146">146</a></td> +</tr> +<tr> +<td class="tdr">X.</td> +<td class="tdl smcap">Violin Strings</td> +<td class="tdr"><a href="#Page_153">153</a></td> +</tr> +<tr> +<td class="tdr">XI.</td> +<td class="tdl smcap">Violin Bows</td> +<td class="tdr"><a href="#Page_161">161</a></td> +</tr> +<tr> +<td class="tdr">XII.</td> +<td class="tdl smcap">Violin Tarisio</td> +<td class="tdr"><a href="#Page_171">171</a></td> +</tr> +<tr> +<td class="tdr">XIII.</td> +<td class="tdl smcap">Violins at Mirecourt, Mittenwald, and<br>Markneukirchen</td> +<td class="tdr"><a href="#Page_186">186</a></td> +</tr> +<tr> +<td class="tdr">XIV.</td> +<td class="tdl smcap">Violin Treatment</td> +<td class="tdr"><a href="#Page_198">198</a></td> +</tr> +<tr> +<td class="tdr">XV.</td> +<td class="tdl smcap">Violin Dealers, Collectors, and Amateurs</td> +<td class="tdr"><a href="#Page_214">214</a></td> +</tr> +<tr> +<td class="tdl"></td> +<td class="tdl smcap">Postlude</td> +<td class="tdr"><a href="#Page_237">237</a></td> +</tr> +<tr> +<td class="tdl"></td> +<td class="tdl smcap">Dictionary of Violin Makers</td> +<td class="tdr"><a href="#Page_239">239</a></td> +</tr> +<tr> +<td class="tdl"></td> +<td class="tdl smcap">Bibliography</td> +<td class="tdr"><a href="#Page_281">281</a></td> +</tr> +<tr> +<td class="tdl"></td> +<td class="tdl smcap">Description of Plates</td> +<td class="tdr"><a href="#Page_287">287</a></td> +</tr> +</table> + +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> +<p><span class="pagenum" id="Page_7">[Pg 7]</span></p> + +<h2 class="nobreak" id="OLD_VIOLINS">OLD VIOLINS</h2> +</div> + +<br> +<div class="chapter"> +<h3 class="nobreak" id="PRELUDE">PRELUDE</h3> +</div> + + +<p>What is the secret of the violin? Why is it that +when a great violinist appears all the other soloists +have to take a back seat?</p> + +<p>The answer is: the fascination of the violin is the +fascination of the soul unveiled.</p> + +<p>No instrument—the human voice hardly excepted—provides +such a rare vehicle for the emotions—is in such +close touch with the molecular vibrations of thought +and with the psychic waves of feeling. But whilst the +violin equals the voice in sensibility and expression, it +far transcends it in compass, variety, and durability.</p> + +<p>Consider the singular completeness and perfection of +this instrument as a sort of physical and vibratory +counterpart of the soul. The four strings no doubt +limit and define its compass, and only in the quartet +and collectively, is it capable of extended effects of +complex harmony; but as a tone-producing instrument +and within its limits it is perfect—every gradation of +sound between tone and semitone is attainable, and for +no other instrument can this be claimed.</p> + +<p><span class="pagenum" id="Page_8">[Pg 8]</span></p> + +<p>Next I observe that the violin possesses a trinity in +unity of power which invests it with a quite singular +and felicitous completeness of its own:—</p> + +<p>(1) <em>Accent</em>—and in staccato passages almost the +accent of percussion.</p> + +<p>(2) <em>Sustained sound</em>—to a degree far beyond the +capabilities of the human voice.</p> + +<p>(3) <em>Modified tone</em>—and in such refinement of gradation, +that the melting lines of the spectrum can alone +supply us with a parallel or analogy.</p> + +<p>Your piano possesses <em>accent</em>, but once strike a note, +soft or loud, and it passes beyond your control.</p> + +<p>The piano has little <em>sustained</em> and no <em>modified tone</em>.</p> + +<p>Your organ has <em>accent</em> and <em>sustained tone</em>, but in a +very imperfect sense <em>modified</em> tone; and a brief survey +of all musical instruments now in use will convince the +student of acoustics that nowhere but in the violin do +we find to anything like the same degree, that trinity in +unity of power summed up in <em>accent</em>, <em>sustained</em> sound, +<em>modified</em> tone.</p> + +<p>But the half has not yet been revealed. The trinity +of power in the violin is placed under the immediate +control of two hands—of ten fingers, each hand functioning +differently. The hand on the finger-board is +engaged in pressing the strings; the other hand wields +the bow, and not only sets the strings in vibration, +but drives, tears, plunges, caresses, checks, prolongs, +magnetises and regulates, in an altogether marvellous +fashion, the outpourings of sound, which are in reality +the outpourings of the musician’s soul,—and further:</p> + +<p><span class="pagenum" id="Page_9">[Pg 9]</span></p> + +<p>Has it ever occurred to you, my reader, how differently +the same piece of music, or, for the matter of +that, the same violin, sounds in the hands of two +different players?</p> + +<p>A few of Paganini’s solos were written down, and +Sivori, who passed as his only pupil, was in the habit of +playing some of them; yet no one was ever wrought +to frenzy or melted into a passion of tears by that +elegant performer. I have often heard him. The +gentlemen in the orchestra remained calm, and listened +with admiration and approval. But when Paganini +played, the drummer on one occasion so shook with +excitement that he was utterly incapable of playing his +part at all, and Professor Ella, then a violinist at the +first desk, went up and did it for him, whilst the other +violinists were so lost in wonder that they could hardly +concentrate their attention sufficiently to come in at +the “tutti.”</p> + +<p>When Paganini raised his bow on high, it came +down on his four strings with a crash. What made it +sound like thunder? It was the thunder in his soul! +When his violin wailed with sweetness long drawn out, +why did the tears roll down the faces of hardened +orchestral veterans, and even great virtuosi like Lindley +and Dragonetti? Why did the people just go off into +fits of laughter when a comic vein seized the prodigious +Maestro in the midst of his variations on the Carnival +de Venise?</p> + +<p>I have heard Wieniawski play his since much +hackneyed “Legende”—it may have been somewhere<span class="pagenum" id="Page_10">[Pg 10]</span> +in the sixties. I never heard anything so weird—spirit +voices in the twilight—the wail of lost souls—one +positively saw ghosts. I have heard the “Legende” a +hundred times since by Neruda, Nachez, Sarasate, and +I know not how many more, but I have never again +seen ghosts.</p> + +<p>What was it? It was the mystery of <em>touch</em>. The +language of touch is but half understood, but the +language of touch is the language of soul, and the +perfection of touch is reached when a sensitive finger +controls a vibrating string or nerve and sends its own +psychic thrill along the waves of sound or sensibility.</p> + +<p>The same no doubt is true of the pianoforte touch, +though in a less degree, because a percussive touch +can never have the power of a sustained and modified +pressure.</p> + +<p>Recent science has thrown some curious sidelights +upon this same sense of touch. It affirms that the +trained fingers of the blind actually acquire from +exercise, practice, and adaptation, new nerve-cells filled +with grey matter exactly similar to the thinking and +feeling grey nerve matter of the brain—in fact, the +fingers of the sensitive musician have the power of +thought and emotion delegated to them; and just as +thinking matter is not confined to brain cells, but +extends all down the medulla oblongata, which responds +to stimulus, even when the head is cut off—so we now +know that brain cells may be acquired, I had almost +said cerebrated, and used even by the fingers.</p> + +<p>Now, supposing we bring these thinking, pulsating<span class="pagenum" id="Page_11">[Pg 11]</span> +finger-tips and wed their subtle pressure to waves of +sound, who shall say that these special sound waves +may not be so impregnated with brain waves as that +sound thus charged with soul may convey through the +auditory nerve to other souls the passion, the emotion, +the sorrow, the joy, and whatever else is generated in +the heart and brain of the musician? ’Tis not more +inconceivable than thought-reading.</p> + +<p>This goes far to account for the personal fascination +which players exercise through their art. Their soul +waves becoming brain waves, float out, charged with +whatever is in the musician; and if there is nothing in +the musician, as not unfrequently happens, they float +out charged with nothing!</p> + +<p>The witchery of the violin for collectors is perhaps +more difficult to explain. Very often these fanciers +don’t play, and still more often they seem to have an +objection to other people stringing up their treasures +and playing on them. It is the construction, not so +much the sound of the violin, that deprives the collector +of his senses; but we ought to be very thankful to +these monomaniacs, for without them there would be +few masterpieces still extant; through them the violin +goes into a period of Devachan, or enforced rest. At +all events, it cannot be worn out, or chipped, or rubbed, +or trifled with by repairers whilst in the collector’s +cabinet.</p> + +<p>All the finest violins are known and carefully stalked—the +health of their owners watched; and when the +time comes, they either find their way to the open<span class="pagenum" id="Page_12">[Pg 12]</span> +market or are picked up briskly by the great dealers, +sometimes for fabulous sums. Mr Hill of Bond Street +thinks nothing of a thousand pounds for a really fine +specimen of Strad.</p> + +<p>Watch the collector exhibiting his treasures to a +select company after lunch. You will soon see he is +not the daft creature whom the uninitiated who only +want to <em>hear</em> the fiddle are apt to suppose. He knows +the influence which that old Gasparo or Maggini had +upon the Cremona school. He marks with admiration +the emergence of the Amati and Guarnerii from the +Brescian models; for him even the quaint long ∫ ∫’s of +the old makers stand in lovely contrast with the more +graceful but still pointed sound-holes of Joseph or +more rounded ones of the great Antonius. To him +that ancient viola cut down from a larger-sized model +of viol now extinct, and placed side by side with an +Amati tenor, is as interesting as the study of comparative +anatomy to a scientist.</p> + +<p>Then your collector is never tired of dwelling on the +perfection of those forms which slowly emerged as the +survival of the fittest in that exciting quest for the +sensitiveness, sweetness, and sonority of tone which +occupied the lifelong meditations of Nicolo Amati and +Stradivari. Anon he will call your attention excitedly +and sympathetically to the grace of the curves, the surface +never flat or board-like, but full of a variety of +levels like the satiny surface of a fine human body. +You might almost believe that a whole system of muscle—a +very living organism—lay beneath the “back” and<span class="pagenum" id="Page_13">[Pg 13]</span> +belly, which to his eyes are alive with swelling and +undulating grace;—and then think of the varnish like +a sheet of thin jasper, at once shielding from decay, +whilst revealing as years roll on the transparent filaments +of the mottled maple or sycamore and the pine, +and crossed between the fibres with millions of tiny +rays which betray the desiccated cells—now fit for +resonance—through which the sap once flowed!</p> + +<p>But I must not anticipate matter which more properly +belongs to violin manufacture. I only wish to +affirm, in justification of the existence of players, hearers, +and collectors alike, that the violin charm has its own +rationale.</p> + +<p>I may perhaps be pardoned if I close this prelude +with some words which I used before the Royal Institution +in 1872.</p> + +<p>“The violin is perennial. It grows old with its perpetual +youth. There is no reason why it should ever +wear out. It sings over the graves of many generations. +Time, that sometimes robs it of a little varnish, +has no power over its anointed fabric.</p> + +<p>“The hard durable substance steeped in silicate-like +varnish has well-nigh turned to stone, but without +sacrificing a single quality of sweetness or resonance.</p> + +<p>“The violin is the only fossil which still lives, and +lives with a fulness of life and a freshness that contrasts +quaintly enough with the fleeting, sickly, and withering +generations of man. Even should mishap bruise or +break its beauty it can be endlessly restored. It is +never fit for death; it survives a thousand calamities;<span class="pagenum" id="Page_14">[Pg 14]</span> +nay, even when cut up and dismembered, its several +parts, scattered through a dozen workshops and three +hundred years, live on with a kind of metempsychosis +in new forms, and still cling strangely to their individuality, +so that men taking up a patchwork violin say, +‘It is fine—the front is poor, the head is tame, but see +here is a Stradivarius back!’</p> + +<p>“Thus human in its power and pathos, superhuman +in its immortal fabric, the violin reigns supreme, the +king and queen of all instruments—and, in the hands +of a Paganini, a Joachim, an Ernst, or a Sarasate, the +joy and wonder of the civilised world.”</p> +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> +<p><span class="pagenum" id="Page_15">[Pg 15]</span></p> + +<p class="center"> +CHAPTER I</p> +</div> +<br> +<p class="center"> +VIOLIN GENESIS</p> + + +<p>To me it has always appeared unimportant and not +very interesting to answer the question, “Were or +were not the ancients—by which we usually mean +Babylonians, Egyptians, or Greeks and Romans—acquainted +with the fact that stretched strings could +be set in tonal vibration by means of horse-hair, reed, +or some other fibre?” They knew most things, and +how much they knew we are only now beginning to +discover.</p> + +<p>At one time we thought that even the Romans did +not know that water rose to its level, but they were +well acquainted with the fact.</p> + +<p>We pride ourselves upon the triumphs of modern +surgery, but we now find that the Egyptians were also +great surgeons and operated successfully for calculus.</p> + +<p>The wonders of electric telegraphy are doubtless of +modern origin, but the Greeks were at least aware of +the attractive properties of amber, which they called +“Electron,” though they made no use of electricity, +and they may very likely have been acquainted with +the principle of rubbing, as they certainly were of +plucking, a string in tension to produce a sound—without<span class="pagenum" id="Page_16">[Pg 16]</span> +ever elaborating the idea in an instrument for +musical purposes.</p> + +<p>Both Fêtis and Vidal deny that any instrument of +the viol tribe existed in antiquity, apparently on the +slender grounds that the few fragments of pottery, +papyrus, or mural decoration known to us have not +yet revealed the fact. I think it probable that these +savants are wrong. Like the use of the wheel, bow +and arrows, bow and string for drilling holes, the bow +or something like it employed for musical purposes is +likely, on <i lang="fr">a priori</i> grounds alone, to be of immense +antiquity, and at least as old as the knowledge of +percussion instruments such as the drum, or of wind +instruments such as the pan-pipes.</p> + +<p>I don’t lay any great stress upon pictures of stringed +instruments with something like a bridge taken to +prove the existence of a bow, especially if the bow +happens to be absent—a guitar has a bridge but no +bow, so has the zither and the bandoline, which are +plucked with the fingers or a plectrum. The much-talked-of +Canino Vase (fig. 103, vol. iii. of Micali’s +<i lang="it">Storia Degli Antichi Popoli Italiani</i>), showing apparently +a sort of instrument with apparently a sort +of bow, has been held by some to be conclusive that +something like the violin tribe was known to the +Etruscans. Possibly! Personally I am not satisfied +that it is a musical instrument at all which is figured +on that same vase—it might be anything, from a rattle +or a torch to a broom or a dust-pan. The strongest +point in its favour as a musical instrument is not the<span class="pagenum" id="Page_17">[Pg 17]</span> +rough image on the vase, but the fact that a musician, +astronomer, and doctor, by name Chiron, is seated +beside it.</p> + +<p>We probably see the descendants of any such instruments +as may have existed in those times in the +Ravanastron, which has been recognised by some as +the oriental precursor of the occidental fiddle.</p> + +<p>Altogether, I think that, from the musical point of +view, too much time, and a surplus of barren antiquarian +lore, have been bestowed on the origin of the +viol tribe.</p> + +<p>Our business begins not even with the building up +of the viol out of the Rebek, Crouth, and Rotta (see +“Music and Morals,” p. 382), but with the emergence +of the violin tenor, violoncello, and double-bass out of +that confused, tentative, and often grotesque crowd of +viols and viol da Gambas, specimens of which are +still exhibited behind glass in our Art Museums and +Loan Collections. We have little to do with them. +They are of no more living account than the Egyptian +mummies in the British Museum. A few retain a +gleam of practical importance for the violin collector, +because they have been cut down for tenors or otherwise +used up during the last three hundred years +by violin makers: the others remain of interest to +musicians only; like the bones of fossil crocodiles, +they are curious studies in the comparative anatomy, +not of reptiles, but of musical instruments, that +is all.</p> + +<p>No, it is with the distinct evolution of the violin, by<span class="pagenum" id="Page_18">[Pg 18]</span> +which I mean the violin tenor, violoncello, and double-bass +types, from the nondescript, dusky, tubby, ungainly +machines, muffled in sound and dubious in form, +that for me at least begins the history and the interest +of the violin tribe.</p> + +<p>The genius of these elect types is inseparably connected +with song—sacred song.</p> + +<p>Viols were used in churches to play chants in unison +with the monks’ voices (probably also to assist their +defective musical ear). When the singing-schools of +Italy arose and divided the voice into treble, alto, +tenor, and bass, a suitable viol was told off as the +companion of each voice. Soon after this the modern +divisions, the octave and the discovery of the perfect +cadence, laid the foundation of the art of modern +music (Monteverde, 1570). The violin emerged.</p> + +<p>The endless discussions as to exactly when the violin +proper made its appearance, or the tenor proper, or +when the viol da Gamba got modified into the current +violoncello size and shape, will probably continue to +agitate those whose minds have a special aptitude for +such researches. A very general statement will probably +satisfy general readers, and even special lovers of +the violin.</p> + +<p>The name of Duiffoprugcar haunts this dim transition +period, and although the violins extant under his name +have all been discredited, and not always distinguished +from Vuillaume’s clever forgeries, I remember one of +the first judges in Europe, who was certainly quite +alive to the tricks of the trade, showing me a reputed +<span class="pagenum" id="Page_19">[Pg 19]</span>Duiffoprugcar (hung and labelled in the South Kensington +Museum), which he then believed to be +genuine. It had lost the tubby characteristics of the +viol tribe; it was, in fact, an early Brescian violin, +linen-lined, but its claim to be a Duiffoprugcar was +withdrawn.</p> + +<figure class="figcenter illowp44" id="i_018a" style="max-width: 50em;"> + <img class="w100" src="images/i_018a.jpg" alt="Picture of an old violin back and front."> +</figure> + + +<p>Duiffoprugcar was born in 1514 at Fussen, in the +Bavarian Tyrol. He was an inlayer and mosaic worker. +He is now known to have visited Paris, and to have +worked at Lyons. There is a fine portrait of him +etched by the engraver Wariot in 1562, and a curious +viol is extant by him, with a map of Paris inlaid at +the back, once owned by Vuillaume, and within recent +years secured for the Brussels Conservatoire Museum +by its intelligent curator, Mr Victor Mahillon. Mr +Donaldson’s beautiful viol da Gamba is the only other +known specimen of his work. There is no evidence +that Duiffoprugcar ever made what we should call a +violin, and very good negative evidence to the contrary. +In a curious old print exhibiting his portrait, +a copy of which is owned by Messrs Hill, amongst the +various viols represented no such instrument as the +violin appears.</p> + +<p>It is easy to see how inevitable was the differentiation +of the violin tribe from the first moment that +a vocal quartet came to be conceived of. First the +viol is selected to double a part, next a viol is made +in a modified way to suit the part, and very soon the +modification assumes the forms and proportions known +as violin, viola, and violoncello.</p> + +<p><span class="pagenum" id="Page_20">[Pg 20]</span></p> + +<p>But in the early days of violin genesis the instrument +was quite subordinate to the voice; it only gradually +conquered its independence with the emergence of the +string trio and string quartet. It would happen +thus:—</p> + +<p>Two people would meet to sing, and the missing +tenor or bass voice would be supplied by a viola; or +three would meet who could not sing at all, when it +would occur to them that the vocal parts might be +played instead, and with even more accuracy perhaps +than the very average voices would attain to.</p> + +<p>The instrumental trio and quartet thus at once came +into being.</p> + +<p>Next, music would be written independently for such +combinations, and the voices would be egged out altogether, +and presently the treble or violin would show +a tendency to throw the others into the shade, and +at last be thought worthy of a solo <em>all to itself</em>, and +thus the independent position of the instrument would +quickly be established.</p> + +<p>All attempts to date exactly the stages of this +differentiation of the violin tribe are likely to be +misleading.</p> + +<p>You cannot say exactly when perspective was discovered +or rediscovered by the Italian painters, it +developed gradually; and so the violin developed +gradually, born of new musical needs and new musical +knowledge.</p> + +<p>In the midst of the old chaotic world of viol noises +that preceded it, the struggle to displace the old viol<span class="pagenum" id="Page_21">[Pg 21]</span> +players and the slow disappearance of the whole clumsy +craft is aptly summed up in the words of one who lived +at the moment of transition. He writes—</p> + +<div class="poetry-container"> +<div class="poetry"> + <div class="stanza"> + <div class="verse indent0">“In former days we had the viol in</div> + <div class="verse indent2">Ere the true instrument had come about;</div> + <div class="verse indent0">But now we say, since this all ears doth win,</div> + <div class="verse indent2">The violin hath put the viol out.”</div> + </div> +</div> +</div> + +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> +<p><span class="pagenum" id="Page_22">[Pg 22]</span></p> +<p class="center"> +CHAPTER II</p> +</div> +<br> +<p class="center"> +VIOLIN CONSTITUTION</p> + + +<p>One of the subtle charms of the violin is that it may +be called bisexual.</p> + +<p>It unites in itself and welds together the masculine +and feminine qualities.</p> + +<p>Its very fabric is bisexual. The soft, easily moved +vibrations of the swelling front are controlled, checked, +and yet excited by the slower and harder pulsations +of the maple back. The porous deal and the close-grained +maple or sycamore thus thrill together, and +each supplies the deficiency of the other, both blending +in harmonious and sympathetic union, the ribs welding +the back and the belly into an organic whole, whilst +the sound-post, poetically called by the French the +soul of the violin (<i lang="fr">l’âme du violon</i>), collects the quick +and slow vibrations, and fusing them, produces the +subtle resultant of violin tone.</p> + +<p>That tone is the offspring of neither back nor front, +nor ribs alone, but of all these differently vibrating +surfaces, collected and made musical in the “soul,” +and poured forth as the breath of life from the ∫ ∫ +holes as out of the very mouth and nostrils of the +violin. Surely the children of the violin are nothing<span class="pagenum" id="Page_23">[Pg 23]</span> +but the sweet and subtly compounded sounds that +it utters.</p> + +<p>The bisexual figure holds good even to the bow +and strings. The bow is the male and the strings +are the female elements. They can only vibrate when +touched—swept into a tempest of emotion or caressed +into tender whispers.</p> + +<p>They wait and pine for this magic touch, and long +for their own fulfilment. They are so sensitive that +they respond to the lightest feathery kiss of the +powdered and anointed horse-hair—they murmur, +they sigh, they scream, they weep, they laugh, but +only when smitten, coaxed or agonised, sometimes +almost torn, at others calmly and masterfully swept; +whilst the finger-tips, pressing out the vibrations and +generating those magnetic thrills which go forth charged +with the musician’s very thought and feeling, aid and +abet the masculine power of the bow. They are its +ministers; without them the might of the bow itself +would be impotent; without them the very strings +would be unable to yield their infinite variety of tone +and inflection of meaning. Yes, certainly the violin +is of all instruments the most human, personal, and +sympathetic, for the violin is truly bisexual.</p> + +<p>It is also a miracle of art, strength, and simplicity—we +may say at once, as light as a feather and as strong +as a horse. It is composed of thin sheets or slips of +wood, only about a fragment of an inch thick; but, +by the simplest and soundest mechanical construction, +these are so put together as to resist a strain<span class="pagenum" id="Page_24">[Pg 24]</span> +of about a hundredweight upon the belly, neck, and +tailpiece, from the tension of the four strings.</p> + +<p>Six sycamore ribs and twelve internal blocks and +linings suffice to hold the back and belly together.</p> + +<p>The neck carries the ebony finger-board and lifts +its characteristic scroll or head—so expressive that +makers can almost be recognised by its physiognomy.</p> + +<p>The neck is let solidly into the ribs and fastened +against the lower part of the belly. When firmly +glued it is extremely difficult to detach it, and once +only in my experience has the neck of a violin proved +unequal to support the enormous pull made upon it by +the strings.</p> + +<p>It was in Ceylon. The heat was intense and moist. +I had borrowed a violin for experimental purposes +in one of my lectures at Colombo. In the middle +of an attempted passage the neck quietly doubled +up; the strings fell in a loose cluster. The glue +had liquefied, and the whole fiddle came to pieces in +my hands. What no time nor wear and tear had +been able to effect had been suddenly achieved by +the peculiar hothouse, vapour-bath treatment of the +tropics.</p> + +<p>The early viol-makers no doubt at first selected their +wood empirically; but it soon became an established +rule to take a soft wood for the belly and a hard wood +for the back. If all were soft, the sound would be +muffled and tubby; if all were hard, the sound would +be metallic and light; neither must the thickness of +back and front be uniform—each must be thicker<span class="pagenum" id="Page_25">[Pg 25]</span> +towards the middle, but how thick or how thin must +depend upon the relative densities of the wood. The +problem was to find the relative densities which would +best vibrate together—a cunning connoisseur in timber +can judge of these densities even by the feel of the +wood. Of course the densities will affect the tone +yielded by the wood when set in vibration, and it is +difficult to believe that Stradiuarius and his school +were unacquainted with some exact technical method +of testing the acoustic properties of these woods.</p> + +<p>Monsieur Savart’s experiments with specimen strips +of Stradiuarius backs and bellies showed that in most +cases tested there was the difference of one tone between +the belly and the back. A 1717 and a 1708 Strad +back both yielded a F♯, a 1724 and a 1690 Strad +bellies gave the interval, so that Stradiuarius worked +his backs and bellies on some regular principle. On +examining specimens of Joseph Guarnerius, it was found +that his best were made with only a full tone between +back and belly; but occasionally the interval was greater.</p> + +<p>The sound-bar is a subtly proportioned strip of pinewood +running nearly all the way down the middle of +the belly inside. The increasing tension of the modern +pitch has made it necessary to strengthen all the old +violin sound-bars, as the increasing demands for execution +have compelled the lengthening of all their necks.</p> + +<p>It is needless to say that the sound-bar readjustment +is a delicate surgical operation, more difficult than the +substitution of a long violin neck for a short one, for +the neck no more affects the tone than the screws in the<span class="pagenum" id="Page_26">[Pg 26]</span> +head. But any blundering with a sound-bar is fatal to +the nervous system of the violin; the <em>wolf</em> may suddenly +be evolved—that horrid dull growl which sets +the teeth on edge, and which, once generated within the +violin, is so difficult to diagnose or to cure. The best +old masters finished everything inside their violins as +carefully as the purfling and the joinings which would +meet the eye, and this although a century might elapse +before those tiny smooth blocks in the angles, or that +carefully-cut close lining of wooden strips fitting neatly +to the bellies as a glove to the hand, might chance to +be seen at all.</p> + +<p>Many forgeries have thus been rudely unmasked, the +forger only having troubled to make clean the outside +of the cup and platter, whilst within you find the dead +men’s bones of his slovenly dishonesty. He worked +only to sell, and to sell by deception (not because he +cared for his craft or respected his instrument), and his +works do follow him! But as Mr Lowell says—</p> + +<div class="poetry-container"> +<div class="poetry"> + <div class="stanza"> + <div class="verse indent0">“Men as worked thorough is the ones that thrive,</div> + <div class="verse indent0">But bad work follers you as long as yer live;</div> + <div class="verse indent0">Yer can’t get rid on it, just as sure as sin,</div> + <div class="verse indent0">’Tis allers askin’ to be done agin.”</div> + </div> +</div> +</div> + +<p>The finger-board is of black ebony; in the old fiddles +it was often inlaid. There need be little said about it +except that the old masters would be puzzled to know +what a player could want with our long finger-boards, +and still more would they have been puzzled could they +have heard the extraordinary and complex effects we<span class="pagenum" id="Page_27">[Pg 27]</span> +manage to produce with our extended compass and +phenomenal shifts, in spite of the absence of frets to +measure intervals.</p> + +<p>The <span class="smcap">Finger-board</span> must be kept smooth and even, +or it will not be possible to “stop” fifths or any other +chord in tune. You will notice in old finger-boards the +strings have worn deep channels, which of course mar +the vibration. The height of the strings above the +finger-board is to some extent a matter of fancy, and of +course depends on the height of the bridge. A child +or young girl would soon be discouraged with attempting +to press strings raised too high above the finger-board, +and of course the higher you ascend the harder +must be the pressure. On the other hand, if the strings +are too close down, the touch is no doubt light to your +heart’s content; but you cannot get a sufficiently full +vibration, and your tone will suffer.</p> + +<p>The <span class="smcap">Bridge</span>! I had almost said the asses’ bridge, for +indeed thereby hangs a tale. The hard-wood bridge, +with its whimsical perforated visage, and its two slender +feet clinging closely to the smooth belly of the violin, +has been sometimes treated with scant courtesy by +writers, and even makers do not all seem fully alive to +its importance. I notice repairers will send you back +your violin with a bran-new bridge, and no apology, if +they happen to have mislaid or broken yours. But the +bridge not only exercises the most important and indispensable +functions of carrying the four strings under a +combined pressure of seventy pounds, but it is in closer +and more intimate contact with the instrument than<span class="pagenum" id="Page_28">[Pg 28]</span> +any other of its appendages. It is so squeezed upon +the wood as to be almost pressed into it, far more so +than the finger-board or the tailpiece, or even the +blocks and linings. It is charged with the primary +vibrations from the strings and the secondary vibrations +of the belly, ribs, and back; nothing goes on in +that wondrous air column enclosed in the violin walls +without the bridge taking cognisance of it, and possibly +hindering or aiding and abetting its successful exit from +the sound-holes.</p> + +<p>I am aware that I have been thought fanciful in +this matter, but an experience of many years has +convinced me that it is not easy to get a bridge that +suits a violin perfectly, and most dangerous to trifle +with the close and <i lang="la">quasi</i> marital relations which exist +between the violin and its bridge. I dislike new +bridges. I love old ones; and why, when all the rest +happens to be old, is the bridge alone to bring the raw +sap of youth to vex the mellow and desiccated repose +of melodious age?</p> + +<p>The position of your bridge, like that of your soundpost, +the adjusting of your screws, the thickness of +your strings, belongs rather to the management than +to the constitution of the violin.</p> + +<p>The only further details fit to be noted here seem to +be the button supporting the tailpiece, which has a +character of its own, in its size, material, and fixture; +and the far less important tailpiece, to which we may +add the purfling and other occasional inlaying.</p> + +<p>The <span class="smcap">Tailpiece</span>, of course, is strictly indispensable,<span class="pagenum" id="Page_29">[Pg 29]</span> +but it does not much matter what it is made of, or +how it is decorated.</p> + +<p>The <span class="smcap">Purfling</span>, although occasionally resisting +damage to the outlying edge, is chiefly ornamental, +and consists of three thin strips of wood—two ebony +or whalebone, and one of white wood—glued together +and inlaid.</p> + +<p>In the purfling we have the last survival of the +inlaying as applied to musical instruments. You will +notice that the further you go back the more elaborately +inlaid are the viols and violins. It was thought +that the instrument, which was little more in those +days of rudimentary music than a toy, might fitly be +exploited to show off the conceit of artists and the +skill of cabinet-makers; but as music developed and +tone was reckoned all-important, every detail likely +to interfere with this new development gradually disappeared, +till in the hands of the Cremonese makers +the faint memory of all the gorgeous mother-of-pearl, +ebony, ivory, gold and silver embossing, survives only +in the narrow three thin lines of the purfling which +strike the contour of the instrument and give piquancy +to its form.</p> + +<p>And thus the perfect sounding violin, though denuded +of all superfluous decoration and meretricious +adornment, yet remains a miracle of art—“a thing +of beauty and a joy for ever.”</p> +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> +<p><span class="pagenum" id="Page_30">[Pg 30]</span></p> + +<p class="center"> +CHAPTER III</p> +</div> +<br> +<p class="center"> +VIOLINS AT BRESCIA</p> + + +<p>The violin proper is an Italian creation. It comes +from the north of Italy. Stainer, it is true, is an early +maker, and he bore a German name, but his date is +after all 1621-83, whilst that of Maggini is 1590-1632; +and if you visit the frontier village of Absam, near +the town of Hall, where he lived, you will observe that +he dwelt on the high-road between the Tyrol and +Italy, and that his training, his talent, and his market +were Italian.</p> + +<p>But Brescia was really the home of the violin, and +there is possibly something in the heavy salt seasoning +of the Tyrolean pines which specially favours that +peculiar resonance, sensitiveness, and durability for +which the Brescian and Cremonese schools are famous.</p> + +<p>The name of Gasparo di Salò (Bertolotti was his +real name), now chiefly famous for his double-basses +and violas, must ever be revered by students as the +master of the great Maggini, who was in reality the +father of the violin, in the sense of having clearly, at +once and for ever, differentiated the instrument as a +distinct type.</p> + +<p>Salò is a lovely spot on the shores of the lake of<span class="pagenum" id="Page_31">[Pg 31]</span> +Garda, in the province of Brescia, and about twenty +miles from the big town. It was early famed for its +culture. Foreigners went there for the sake of its +schools, and the Corporation records show that sacred +music especially flourished there. It is now certain +that Gasparo migrated thence to Brescia and worked +in that town. Maggini was as certainly his pupil. +This is proved by a legal document, dated 1602, which +has lately been discovered, bearing the joint signatures +of Gasparo and Maggini, who is termed his “garzone,” +or apprentice.</p> + +<p>Gasparo’s share in violin-making proper could not +have been very great, as the earliest violin orchestral +music appeared in Italy in 1608, and Gasparo died in +1610 or thereabouts—a fact which, taken in connection +with the extreme rareness of any Gaspardian instruments +which can be called violins, seems to argue that +the piccolo violino which was presently going to be +master of the situation was only just creeping up.</p> + +<p>I have seen and played on one very fine Gasparo +violin, the property of Lord Amherst—D and A strings +rich and pure, 1st and 4th rather muffled, but on the +whole the tone is mellow and powerful.</p> + +<p>This almost unique Gasparo violin is still bulgy, but +a great improvement on the old viol build; the head +is long and quaint-looking, but lacks that finish and +character which later masters put into their scrolls. +Gasparo’s basses are still much sought after, and +Dragonetti possessed more than one.</p> + +<p>A giant specimen, known as the Duke of Leinster’s<span class="pagenum" id="Page_32">[Pg 32]</span> +bass, may still be seen at the South Kensington Museum, +and I exhibited it at the Royal Institution in 1872. +His work is heavy and lacks refinement, but his tone is +grand and full-bodied.</p> + +<p><span class="smcap">Gio. Paolo Maggini</span> was the child of his father’s old +age, and born at Botlicino, near the town of Brescia, +which afterwards became the family headquarters.</p> + +<p>Brescia was at this time a strongly fortified place, +and a print as late as 1764 probably gives us a fair +notion of what it looked like between 1560 and 1632.</p> + +<p>Swift brooklets ran down the streets, and outside the +walls were spreading woodlands and ploughed fields. +It boasted of a splendid brick palace, the Broletta, and +a massive belfry of rough stone (Torre del Popolo), a +Castello, and an old Duomo; the streets were adorned +with frescoes. The Cathedral of San Pietro de Dom +was famous for its music, and had an organ and full +orchestra. The viol-makers and the monks were then, +as they have since been, in intimate relations, and it +was a couple of monks who befriended Gasparo when +he was down in the world in health and fortune, and +sadly needed it.</p> + +<p>The princes of Italy at this time (1512-1630) were +great patrons of art, letters, and especially music. +Brescia in 1600 was under Venetian rule. The town +or fortress was from its very position constantly in the +midst of wars and rumours of wars, and was appropriately +famed amongst other things for its manufactory +of swords and armour.</p> + +<p>It is surprising how little military commotions seem<span class="pagenum" id="Page_33">[Pg 33]</span> +to have affected, either at Brescia or at Cremona, the +manufacture of musical instruments. There seems to +have been an uninterrupted line of viol and cither and +lute makers at Brescia from 1300 and onwards.</p> + +<p>But when it is remembered that war does not interrupt +the functions of religion or diminish the importance +of the clergy (nay, often enhances both), we can +understand that the musical instrument makers might +have been as much in demand, in the stormiest times of +the Visconti and Medici, as druggists, soothsayers, or +mountebanks; and they probably made impartially for +friend or foe—for any one, in fact, who could afford +to pay.</p> + +<p>Up to within the last few years very little was known +of this man Gio. Paolo Maggini—Magino or Magicino. +As he put only the name and place, but not the date, +on his labels (all dated Magginis are therefore frauds), +it is not easy to assign fixed dates to any of his instruments, +and the personal information to be squeezed out +of them is of the meagrest description. He worked in +Brescia; few of his instruments survive. His violas are +as rare as Gasparo’s violins, but he distances all other +makers in the attention that he gave to that newfangled +and suspiciously regarded instrument, the true +violin.</p> + +<p>His handwriting, some of which survives, would lead +one to suppose that his education was very moderate, +but the signatures of illustrious princes of this period +are no better. Recently, however, the State Archives +of Brescia have revealed some interesting gleams of<span class="pagenum" id="Page_34">[Pg 34]</span> +information which enable us to show him in his workshop +with one apprentice, Franchino, and a young +wife, aged nineteen, Maddalena Anna, who brought +him a dowry, and afterwards children.</p> + +<p>A picture of his house in the Contrada del Palazzo, +Vechio del Podesta, lies before me. It has but two +storeys, and the family lived upstairs, surrendering the +ground floor to the violin business.</p> + +<p>In a woodcut by Jost Anian, Zurich (1539-91), we +have an authentic picture of such easy, leisurely, calm +workers as Maggini.</p> + +<p>There is the rude substantial bench, the tools, the +glue-pot, the planks and the wood in blocks, bits of +fiddles and strips of timber hung up on the walls; the +aproned artificer is carefully trying a lute as he sits on +his three-legged stool.</p> + +<p>What simplicities! Were we to enter in imagination +the studios in which the greatest pictures in the +world were being painted about this time, the same +meagre appliances and absence of superfluous luxury +would doubtless have greeted our eyes.</p> + +<p>But our gorgeous modern studios hung with the +spoils of the East, and iridescent with precious pottery +and curiously worked metals, our modern workshops +with their exquisite mechanical appliances and all sorts +of labour-saving machines, somehow fail to rival in +quality of production those old masters who sat on +three-legged stools, ground their own pigments, made +their own glue and varnish, and chopped and chiselled +their own wood.</p> + +<p><span class="pagenum" id="Page_35">[Pg 35]</span></p> + +<p>If you consider Maggini’s period (1560-1632) you +will see how exactly the direction of his genius was +conditioned by the demands of his age.</p> + +<p>The singing-schools of Naples had resulted in a call +for stringed instruments in increased numbers, but the +old viols were seen to correspond ill to the altered +times, and the need for an instrument which would +render leading melodies effectively was felt just in +proportion as such melodies became multiplied with +the rise of vocal music, sacred and profane.</p> + +<p>Most writers on the violin seem to have a passion +for cutting up a maker’s life into periods, as though +a man could rise one morning and say, “Go to now, +let us enter upon period number three, in which the +back shall be sloped so, and the belly brought down +thus, and the curve of the bouts tilted, contracted, or +elongated thus.” All that can be safely said is, after +such and such a time Maggini or Amati dropped or +adopted this or that feature as a rule, and we may +infer that a maker came under such and such influences, +and so forth.</p> + +<p>Now I come to speak of Maggini, I will trace +roughly but clearly what may be called his continuous +development, rather than any so-called three periods.</p> + +<p>Naturally at first the pupil made like his master +Gasparo. His violins suggested big viols on a small +scale. They had a heavy look; they were of large +size, which makes the sides seem lower than they are, +for in reality the ribs are not higher than those of +the Amati.</p> + +<p><span class="pagenum" id="Page_36">[Pg 36]</span></p> + +<p>The heads look rough, because, with the reduced +size, no increase of refinement or delicacy has yet +been reached; now, they are cut without symmetry; +now, the fluting of the scroll is not smoothed, even +the grooves for the purfling are not neat, nor is the +purfling itself sharp.</p> + +<p>Maggini’s early backs, sides, and bellies are cut on +the slab—that is, across the grain.</p> + +<p>Then Gasparo’s sound-holes have got narrower in +the hands of his pupil, and Gasparo has probably got +credit for some of the improvements of Maggini, as +there can be little doubt that some violins labelled +Gasparo are the work of his pupil, just as early +Stradivari violins are in existence signed Nicolo +Amati.</p> + +<p>If I may hazard the remark, in my opinion Maggini +did not copy so long or so seriously the work of +Gasparo as did Stradivari copy Nicolo. The reason +is obvious. The stride between Gasparo and Maggini +is far greater than that between the late Nicolo +and the Strad. By the time Nicolo died the violin +had already risen to that supreme and independent +individuality and dignity which it has never since +lost.</p> + +<p>Stradivari got the violin all ready made; it was +Maggini’s glory to have assisted at the individualisation +of the “King” type.</p> + +<p>Presently we become aware that Gasparo is dead and +buried. The Maggini bellies now cease to be cut on +the slab, but show the long parallel grain lines of the<span class="pagenum" id="Page_37">[Pg 37]</span> +wood as in the Amatis; the art of wood selection for +sonority and sensitiveness seems already to have reached +the 1650 Cremona level. The sound-holes are more +delicate, but still a little quaint; they are invariably +bevelled inwards, a practice entirely discarded by the +Cremona masters.</p> + +<p>Sir Joseph Chitty’s, and Mr Sternberg’s, and the +Dumas’ tenors are good specimens of Maggini’s first +independent work illustrating the above characteristics. +The Dumas family were friends of Beethoven, and +enthusiastic admirers of Maggini’s work. They possessed +at least one valuable “chest” of his instruments. +A chest is described by an old writer as “a large hutch +with several compartments and partitions in it, each +lined with green baize” (we have since gone heavily +into velvet and plush).</p> + +<p>There are only about eight violas or tenors of Maggini’s +known; they do not vary in their proportions.</p> + +<p>The model of the Dumas viola is of the master’s +most arched type—a feature much exaggerated by +Stainer and his followers. It is, like almost all this +master’s specimens, adorned with double purfling, set +close to the edge, with the usual Maggini bevel at +the corner joints. These corners give it a special physiognomy; +they are short, and make no appeal to the +eye like the later Cremonas. The tenor’s ∫ ∫ holes are +upright, short, and broad; they are higher than in the +same maker’s violins, the top curves as usual larger than +the bottom ones, the back and belly both in two pieces; +the bass bar and blocks inside have been strengthened;<span class="pagenum" id="Page_38">[Pg 38]</span> +the rough tooth of the well-known Brescian plane has +left its mark on the wood inside. The Dumas tenor +is in exquisite condition; the varnish is unlike the old +Gasparo brown, it glows with rich golden tints. Its +type is admirably defined; no one in looking at this +tenor can say, “This is a little violoncello,” or “This is +a big violin.” It is a distinct viola type, and it set the +type for all succeeding violas. The Cremona makers +worked on it, but they did not re-create the tenor; +they could not.</p> + +<p>The Dumas-Maggini violin is in equally fine condition; +it looks so new that some have supposed that, +although eighty years before Stradivari, it must be a +copy made by Strad of the older master, but it is +absolutely authentic and genuine.</p> + +<p>Before Maggini died, we notice that a very high +standard of finish has been reached, unknown to him +in his earlier days, or, as for the matter of that, to +any of his predecessors. Observe the improved purfling, +the bouts and mitres cut with clear intention, but +never so marked in physiognomy as the Amatis, the +sound-holes quite as sharp as theirs; but, above all, +the arching has at last come down—this true hint, +so early given, was not at once adopted by Maggini’s +Cremonese successors. Stradivarius at last fixed it and +regulated it in a model from which no later maker +has found it safe to depart with the exception of Duke +and Klotz, who obstinately adhered to the Stainer high +bellies with deep side grooves.</p> + +<p>Maggini’s later varnish runs out of the old Gasparo +<span class="pagenum" id="Page_39">[Pg 39]</span>brown into orange and golden yellow, as luscious as +anything to be found in a Joseph or a Strad.</p> + +<figure class="figcenter illowp53" id="i_038a" style="max-width: 37.5em;"> + <img class="w100" src="images/i_038a.jpg" alt="Picture of an old violin back and front."> +</figure> + + +<p>Although Maggini adhered to his double purfling, +there are specimens of his work in exhibitions without +it; and at least one curiously but not carelessly made +instrument is known where the purfling at the back +is neither double nor even inlaid, but merely drawn +sharply in black lines. A very fine single-purfled +violin, formerly in the collection of Prince Caraman +Chimay, now in the possession of Mr Antonietti, possesses +an unrivalled tone of the Maggini timbre. Many +of his violins retain the old taste for other inlaid ornamentation. +He does not run into maps and portraits, +but a graceful clover-leaf pattern is often found at top +and bottom of his backs, twisted, as it were, out of the +purfling, and a sixfold trefoil sometimes occupies the +centre of the back; but an acute observer has noted +that there is no instance of the central trefoil combined +with the clover-leaf pattern.</p> + +<p>Not less remarkable than this great maker’s definition +of the violin and viola types was his conception of the +violoncello. The Maggini ’cello is not the son of the +double-bass, but the father of the tenor. It is much +more like a large tenor than like a small double-bass; +the proportions are, as it were, enlarged from the tenor, +not reduced from the flat-backed bass. Maggini’s +bent was entirely in the direction of the smaller +violoncello pattern.</p> + +<p>The early and even the later Cremona ’cellos were +too large, and there is very little doubt that the<span class="pagenum" id="Page_40">[Pg 40]</span> +powerful influence of Maggini can be traced in the +evolution of those perfect but moderately sized Strad +’cellos which date mostly after 1700.</p> + +<p>The tone of Maggini is full, mellow, and plaintive, +rather than biting like Stainer, bell-resonant like +Strad, or soft and sensitive like Nicolo Amati; but +great players like Vieuxtemps, Ole Bull, Leonard, +and De Beriot have found him sufficient, and if more +have not extolled Maggini, it may be on account of +the rareness and inaccessibility of his instruments.</p> + +<p>It has been said by a competent authority that not +more than fifty extant Magginis are known, and in +England at present (1897) about thirty violins, ten +violas, and but two violoncellos and one double-bass.</p> + +<p>Maggini died at the comparatively early age of fifty-one. +All researches made in the archives of S. Lorenzo, +his parish church, have failed to reveal the date of his +death, and the worst of it is that the registers of that +church prior to 1700 have disappeared.</p> + +<p>We hear plenty about his wife, Anna Foresti, who +died 1651, aged fifty-eight, and was buried in a neighbouring +parish.</p> + +<p>It is more than probable that Maggini himself was +a victim to the plague which raged at Brescia in 1632, +and that he was hastily interred, or, dying at the Pest +House, no official note of his death may have been +taken. At any rate, in 1632, the year of the plague, +his son describes himself as “filius quondam Johannis +Pauli”—the son of the late Gio. Paolo.</p> + +<p>His last income-tax return is dated 1626, and he<span class="pagenum" id="Page_41">[Pg 41]</span> +was dead in 1632, so he must have died at latest in +1632, and therefore could not have been more than +fifty-one. Maggini was doubtless well off, owned considerable +property in and out of town, was the father +of six children, and, what was of far more importance, +the father of the modern violin.</p> +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> +<p><span class="pagenum" id="Page_42">[Pg 42]</span></p> + +<p class="center"> +CHAPTER IV</p> +</div> +<br> +<p class="center"> +VIOLINS AT CREMONA</p> + + +<p>Cremona! Amati! two words making melody with their +very syllables, and a deeper harmony still for the lover +of music, from the association of ideas which they +excite.</p> + +<p>With the assumed immigration of makers from +Brescia—the emergence of the Amati family (the +name of Amati is not found in the Brescian archives), +and their final residence at Cremona—begins the classic +period of the violin.</p> + +<p>Cremona, ancient city of strife, which, owing to its +very situation (κρι μόνος, “high rock” and “alone”), +was the battle-point of the middle ages from the days +of the old Goths and Lombards down to quite modern +times; Cremona, with its stately cathedral so little +known or visited, yet possessing two of the finest red +lions couchant, supporting portico columns of one of +the noblest cathedral façades in Italy; Cremona, with +its antiquated back streets, its drowsy quiet life gliding +on apart from the beaten thoroughfares of travel—truly, +Cremona town is a place to set one dreaming!</p> + +<p>I have narrated elsewhere my pilgrimage to the place +which so ungratefully forgets almost the very tradition<span class="pagenum" id="Page_43">[Pg 43]</span> +of the Amati, Stradivari, and Guarnerii, whose fabrics +alone have given it a musical immortality, and whose +names are hung up high like the stars, which no discords +of the middle ages, sieges, or brawls can ever reach.</p> + +<p>Let us now try and come face to face with these +immortal makers.</p> + +<p>Andrea Amati (<i lang="fr">père</i>) settled at Cremona, and made +violins from 1520-46. He brought with him his +brother Nicolo (not the great Nicolo, afterwards +master of Stradivari, <em>Italian</em>, or Stradiuarius, <em>Latin</em>).</p> + +<p>Andrea Amati had two sons, Antonio and Geronimo, +who made violins jointly as well as separately. When +Antonio married, the fiddles of neither seemed to improve. +The brothers ceased for a time at least to work +together (there being, it is said, a period in which there +are no joint reductions); but as there are much later +violins bearing their joint names, it has been assumed +that they again collaborated. If we trust some of these +late labels—the brothers being born about 1555-56, +and one of the joint violins being dated 1687—it would +follow that the venerable artificers were still making +violins at the age of 136 years, which beats Stradivari +himself, who only worked till he was ninety-three.</p> + +<p>Geronimo, according to one writer’s account of his +labels, went even one better, for there is a Geronimo +violin dated 1698; so if this Geronimo, brother of +Antonio, was born about 1556, which is tolerably +certain, he went on working even longer than Moses, +with his eye undimmed and his natural strength +unabated, down to the age of 148!</p> + +<p><span class="pagenum" id="Page_44">[Pg 44]</span></p> + +<p>The confusion has arisen from confounding Geronimo, +brother of Antonio, with Geronimo, son of the great +Nicolo (born 1649, died 1740). But if there exists a +signed Geronimo and Antonio dated 1698, which +seems very doubtful, it would be certainly easier to +believe that, as the demand for Italian instruments by +makers of repute had well set in before 1700, the late +Antonio and Geronimo label was stolen from the old +workshops—the last two figures of 16—being filled +in, and the label clapped on to cover the fraud; whilst +any Geronimo violin dated 1698 would be by Geronimo, +son of Nicolo; or at most, one made up by some enterprising +pupil out of the débris of the elder Geronimo’s +workshop—perhaps about the time that Nicolo the +Great, son of Geronimo and grandson of Andrea, +was working with his pupils, Stradivari and Andrea, +Guarnerii, and his own son, the younger Geronimo +or Girolamo Amati.</p> + +<p>But with this Geronimo Amati, son of Nicolo (born +1649), and a certain Don Nicolo Amati, an Italian +priest, we need not trouble ourselves beyond recording +their names.</p> + +<p>A good deal has been said about Andrea Amati and +his violins. He was certainly the founder of the family, +but not much is known about him except that he +probably, almost certainly, acquired from Brescia the +Maggini type, and that his violins are somewhat +smaller, arched in the belly, with a varnish that runs +out of the Brescian brown into the mellow and brilliant +gold and ruddy tints common to the Cremona varnish;<span class="pagenum" id="Page_45">[Pg 45]</span> +the later Amatis have a tendency to revert to the +browner hue.</p> + +<p>That Andrea made some choice violins for Charles +IX. of France—twenty-four violins, twelve large, twelve +small pattern, known as “les petits violons du roi”—there +can be no doubt, but they disappeared from +Versailles in the political disturbances about 1790. +The arms of France, we are told, were painted on the +backs, and they are said to have been of beautiful +workmanship.</p> + +<p>A ’cello, “Andrea Amati Cremonentis faciebat, +1572,” was sold amongst some others belonging to Sir +William Curtis, May 1827. This is known as the +“Bridge’s viollo.” Its history is romantic, it having +been presented by Pope Pius V. to Charles IX. of +France, and surnamed the “King.”</p> + +<p>The Amati characteristic, which culminates, along +with other qualities of sonority, in the great Nicolo, +1596-1684, is sweetness of tone; but a certain want +of power is noticeable, especially on the fourth string. +The “A” is beautiful, the “E” soft and delicate, and +the third very full and round—qualities which are also +conspicuous in the brothers Geronimo.</p> + +<p>But if Amati tone is of cabinet, not concert quality, +its quality is of a kind unequalled for charm and +sensitiveness, and although not loud, some violins made +by the brothers have a considerable carrying power.</p> + +<p>The Amati heads or scrolls retained a certain simplicity +and antique Brescian look even after the finish +and form of the body of the violin had left the Brescian<span class="pagenum" id="Page_46">[Pg 46]</span> +school far behind. The double purfling of Brescia is +also gone, but the brothers purfled very beautifully, +with a bend of perfect regularity and smoothness.</p> + +<p>The violins of Antonio are better than his brother’s, +but the joint violins are the best, and have been +oftenest forged.</p> + +<p>The brothers indeed made excellent violas, but, as +the fashion then was, too large. They have been +sometimes cut down. Sir Frederick Gore Ousely once +had a fine specimen, which I remember playing upon +many years ago at Tenby—tone very full and mellow.</p> + +<p>Richard Blagrove, a brother of Henry Blagrove, the +admirable early Monday Popular violinist, was a viola +player, and used a reputed Amati, but it was really a +Gagliano. Many of us (1897) can remember how richly +it contributed to the triumph of a quartet, of which +Joachim, Riess, and Piatti were often the other members.</p> + +<p>Her late Majesty the Queen had a fine painted Amati, +unfortunately cut down; and Miss Seton’s Geronimo +Amati is a rare specimen, and from the MS. of Ascenzio, +a priest at Madrid, we learn that it was a favourite +violin of Charles IV. of Spain.</p> + +<p>Geronimo, after separating from Antonio, reduced +the arching of his bellies, but, singularly enough, without +improving his tone-power. The over-arching of +the early makers and scooped side-curves are generally +supposed to be a vice in acoustics finally overcome by +the gentle natural curve and flatter models of Nicolo, +but it is perhaps possible to ride a theory too hard. I +have certainly played on instruments deeply grooved,<span class="pagenum" id="Page_47">[Pg 47]</span> +with rounded bellies, powerful Dukes and piercing +Stainers, which, according to the orthodox theory, had +no business to sound as loud as they did. It is well +known that in both these Amati makers the late +Cremona flat curve is conspicuous by its absence; and +whilst I do not for a moment deny that the flatness of +the Stradivari model is preferable, I think the superiority +of the late Cremona tone may be due to a good +many other things beside that. It will always be a +question whether the man who makes possible the +last perfection of an art or the man who actually +achieves it is really the greater genius. Pietro Perugino +or Raffaello in painting; Chaucer or Shakespeare +in literature; Handel or Beethoven in music; Gasparo +and Maggini or Stradivari in violin-making; but +popular opinion generally plucks the blossom without +troubling itself much about the roots, and the prices +fetched by the finest Strad and the finest Gasparo, or +even Nicolo Amati, practically settle the question as +regards the violin-makers. £400 is an unusual price +for a fine Nicolo (£250 is nearer the mark, 1898); +£1000 is not an uncommon figure for a good Strad, +and his finest specimens command £2000 (1898).</p> + +<p>Nicolo, the great son of Geronimo, was born in +1596, and died close upon the seventeen hundreds, in +1684. Nicolo was quite aware that he resumed in +himself the fine qualities of his distinguished family +and improved upon them. It is true he did not +trouble himself much with his grandfather Andrea, +whom he probably regarded as a worthy old gentleman<span class="pagenum" id="Page_48">[Pg 48]</span> +quite out of date. There could have been little in +those small, almost three-quarter size, brown varnished, +and sweet but feeble-sounding violins to attract the +aspiring grandson; but there were qualities in the somewhat +larger models of the famous brothers, Geronimo +and Antonio, which set his hand and head agoing, +when as a boy he fell to copying and carving backs +and bellies, and twisting ribs and throwing scrolls, in +his father’s little workshop at Cremona, opposite the +west front of the Saint Dominic Church.</p> + +<p>Nicolo the Great doubtless followed and imitated +his father Geronimo, but wishing to miss nothing, +and perhaps labouring under a sense of obligation or +merely out of genuine affection, his labels embody an +immortal acknowledgment of indebtedness to both +masters. They run thus:—“Nicolaus Amatus Cremonem +Hieronymi Fil, <em>ac Antonij Nepos</em> fecit, 1677.” +(The italics are mine.)</p> + +<p>Nicolo the Great’s smaller patterns made in his +father’s workshop are not unfrequently to be met with, +and can be picked up for between £80 and £100, or +even less.</p> + +<p>But as we watch his dates, the touch of Nicolo very +soon becomes distinctive. On the death of his father +and uncle he found himself in possession of a workshop +which inherited a great name, but which was +destined to transmit to future generations the greatest +violin names in the world. Among the pupils of +Nicolo in 1653 sat the brothers Guarneri, Andrea +Guarnerius having witnessed the marriage of his master<span class="pagenum" id="Page_49">[Pg 49]</span> +Nicolo and signed the register; and by the side of +Andrea Guarnerius sat a young man named Antonio +Stradivari, or, as we usually call him, Stradiuarius.</p> + +<p>Most of the Nicolo violins before 1645 are of the +smaller pattern, but after this date down to 1684, the +year of his death, the eye of a connoisseur will notice +an increase in size, a finish in workmanship, and a +more delicate purfle (never double). The model is +still somewhat high in back and belly, but with an +increasing tendency to get flatter; the side-grooving +is less pronounced, whilst the corners are noticeably +drawn out into finer points full of character, arresting +the eye, lightening as it were the model, and giving +the whole physiognomy of the instrument a grace and +piquancy hitherto unattempted.</p> + +<p>The sound-holes of Nicolo are pointed and somewhat +narrow; the scroll is cut a little too flat for the later +taste, but passes as the century wanes into a somewhat +larger and bolder style. The wood seems to be chosen +almost as much for its mottled or fine-grained beauty +as for its acoustical properties.</p> + +<p>The early Nicolo varnish is of brownish Brescian +type, but later on it glows with the rich amber tints +of Cremona, and those dragon-blood stains which give +to some Strads and Josephs such warm and generous +tints like the sunlit dashes of mellow red on a ripe +nectarine.</p> + +<p>Mr Somers Cocks (1898) has a most glorious Amati +violoncello, “one of the finest ever seen or heard,” so +said to me a distinguished connoisseur. Mr Marshall<span class="pagenum" id="Page_50">[Pg 50]</span> +Bulley’s violoncello, a Jerome (the younger) Amati, is +also a rare gem of tone and workmanship.<a id="FNanchor_1" href="#Footnote_1" class="fnanchor">[1]</a></p> + +<p>The grand Amati violin pattern runs some of the +Stradivari violins very hard, and is evidently the model +on which the 1700-35 Strads are “calqué,” as the +French say. The side-grooving, generally held to +interfere with the volume of tone, whilst supposed by +some to add to its sweetness, has not disappeared as +in the Strad grand model, but it has become less +pronounced. The tone is lovely and sensitive, and +the Nicolo is truly delightful to handle. It is <i lang="fr">par +excellence</i> the lady’s violin.</p> + +<p>The one before me, where the varnish still remains, +melts into light orange with clear golden gleams in it. +If Joseph is the strong male, Nicholas or Nicolo certainly +belongs to the softer and more yielding sex. +The tone is most delicate, and of ravishing sweetness. +It seems to leap out almost before the horse-hair has +feathered the strings. It continues to sing on like a +vibrating silver bell, as if intoxicated with itself, long +after the bow has ceased its contact. In the sweet +Nicolo the lover finds no bars, no obstacles; it is won +almost before ’tis wooed (Plate V.).</p> + +<figure class="figcenter illowp56" id="i_050a" style="max-width: 144.375em;"> + <img class="w100" src="images/i_050a.jpg" alt="Picture of an old violin back and front."> +</figure> + + +<p>We are interested to know that in his own time +Nicolo’s work was carefully imitated, if not forged; +whilst his supremacy over one of his best pupils, +Francesco Rugereo, Rugieri, or Rugerius, was clearly +<span class="pagenum" id="Page_51">[Pg 51]</span>acknowledged; for we find that a certain Tomaso +Antonio Vitali, who seems to have bought a violin +with a Nicolo label inside, and paid twelve doubloons +(or about £12, 10s.) for it, complained bitterly that on +removing the false label he had discovered the name of +Ruggeri underneath it. The aggrieved Tomaso thereupon +applied to his liege sovereign, the Grand Duke of +Modena, for summary redress, avowing that he had +given a higher price because the violin had a label of +Nicolo, “who,” he adds, “was a maker of great repute +in his profession, but now it was proved to be only a +violin by Rugerius the pupil, a maker of less credit.” +The violin, he said, was scarce worth to him more than +three doubloons; the petitioner therefore prayed the +Duke for redress. Whether he got it or not was no +doubt very important to him, but of very little consequence +to us. The fact that he made the application +is the point.</p> + +<p>The <span class="smcap">Guarnerii</span> family must have made violas or +violins as the sand of the sea in number, if the +frequency of their labels may be taken as any guide; +and in truth they were a long-lived and industrious +family, and doubtless made a good many instruments, +chiefly violins. But the reputation of Andrew and +Peter, and above all the great Giuseppe (Joseph) del +Gesù, led to the early fabrication of pseudo Josephs, +and labels in numbers far beyond what all the great +makers of Cremona together could have produced.</p> + +<p>Andrea Guarneri (Andrew Guarnerius) the apprentice, +as we have seen, was one of the witnesses to the<span class="pagenum" id="Page_52">[Pg 52]</span> +great Nicolo Amati’s marriage in 1641, and Nicolo +enters his pupil’s name in the church register as aged +fifteen, which gives us the year of his birth, 1626. He +worked on till 1698; in 1652 he married, and two of his +sons, Giuseppe (not the great Giuseppe, his nephew) +and Pietro, worthily sustained and improved upon their +father’s reputation.</p> + +<p>Many of the violins of Andrea Guarneri are of the +smaller Nicolo pattern, but somewhat inferior, and not +always well finished. The wood of his rare ’cellos, +however, although plain in appearance, can boast of +singularly fine acoustic qualities.</p> + +<p>There is a well-known ’cello now (1897) belonging to +Miss Theobald, of his finest workmanship.</p> + +<p>Giuseppe, second son of Andrea Gianbattista +Giuseppe, born 1666 to 1739, as distinguished from +Del Gesù or “Jesus” Giuseppe, struck out a freer line +of work. His narrow-waisted boldly-curved instruments, +with their Brescian-looking sound-holes set low +down, his rich, almost too profusely rich, varnish and +fine wood, but not over-finished workmanship, give his +violins quite a characteristic appearance, and in power +of tone they are superior to his father’s. But next to +the great Giuseppe del Gesù, Pietro Guarneri is the +flower of the family, and most sought after by amateurs.</p> + +<p>The grain of his bellies is often wide, the distance +between the sound-holes is conspicuous, the sound-holes +themselves are rounder and less Brescian, the scrolls are +beautifully cut, and the varnish is superb, from golden +tints to pale red, which has thrown some writers into<span class="pagenum" id="Page_53">[Pg 53]</span> +rhapsodies about setting suns and the colours of the +rainbow.</p> + +<p>Passing over a lesser Pietro, son of the lesser Giuseppe, +son of Andrea, who worked at Mantua, we come to the +one man who, with the exception of the great Nicolo, +is worthy to measure swords (or bows) with Stradivari. +He came, singularly enough, from a side branch, and +not in direct descent from Andrea or any violin-maker, +being the son of one John Baptist Guarnerius, and was +born at Cremona in 1683.</p> + +<p>The father of the great Giuseppe was the son of one +Bernardo Guarnerius, who was a cousin of Andrea, +and therefore the great Joseph was nephew of Andrea +Guarnerius, just as the great Nicolo was the nephew of +Andrea Amati; but a distinguished fact separates our +Giuseppe from all his illustrious kinsfolk, and it is +this, that his father, Bernardo, does not seem to have +been a violin-maker at all, so the young Giuseppe owed +his teaching most probably to his uncle and cousins.</p> + +<p>Most writers have speculated blindly enough upon +his distinctive appendage “del Gesù” some talking +about the Jesuits or a supposed religious bent. This +is one of the many cases where sapient antiquaries, in +seeking for recondite origins, neglect the simplest facts +and ignore the easiest explanations. What can be +more simple than for the great Giuseppe, conscious +of his superiority to Gianbattista, son of Andrea +Guarneri, as well as anxious to distinguish himself +from Gianbattista, his father, and coming <em>after</em> both, +though <em>preferred</em> before them, should call himself the<span class="pagenum" id="Page_54">[Pg 54]</span> +“del Gesù” or Jesus, who followed after the John +Baptist of the family? So far from indicating any +particular reverence for religion, the assumption of +this bold title seems to me to partake more of a +certain irreverent levity; and if, as tradition says, the +great Giuseppe or Joseph was somewhat of a free liver, +and perhaps even a sceptic, he may have had small +scruples in so lightly treating sacred names and subjects.</p> + +<p>The question as to who may have been his master, +and the influence (or otherwise) of Stradivari upon him, +has also been involved, as I think, in needless mystery.</p> + +<p>Since Del Gesù worked at Cremona and must have +been, as a cousin and nephew, a good deal with his +uncle and cousins, Andrea, Giovanni, and Pietro, who +lived there, it is no great stretch of fancy to suppose +that when he showed the family bent for violin-making, +he should have been apprenticed to study the art with +his cousin Giuseppe, son of Andrea, in which case he +must have lived next door to where Stradivari was +working all through his finest period; and though +Giuseppe’s violins are rightly said to be in the style +of his cousin’s Gianbattista, and he may have drawn +his early inspirations from his cousin, it is impossible +to suppose that so able a man could be in daily contact +with and yet wholly insensible to the influence +of the greatest maker who ever lived. Why, he not +only worked next door to Strad, but probably met +him every afternoon at the neighbouring café, and was +doubtless often about his shop, year in year out.</p> + +<p>Of course the differences in the work of the two<span class="pagenum" id="Page_55">[Pg 55]</span> +great masters are obvious. The massive, bold, and +original lines and less scrupulous finish of Joseph +the Great, the powerful (almost brutally powerful) +scroll, the loud trumpet-like imperious tone, all mark +the masculine as contrasted with the sweeter and more +feminine qualities of the gentler, bell-like Strad. The +fact also before alluded to, that between the back and +the belly of the Strad there is usually but one note, +whilst between the back and belly of the Giuseppe del +Gesù there are sometimes more, all prove sterling and +distinct originality, as Rafael was distinct from Perugino +or Michael Angelo from Leonardo da Vinci. But +enough; for to draw these comparisons before describing +the master may seem like putting the cart before the +horse.</p> + +<p>So let us now, without further ado, locate the great +violin shops at Cremona and peep into workshop No. 6, +in the Piazza S. Domenico, now Piazza Roma.</p> + +<p>In about 1540, Andrea Amati had set up his modest +establishment, trained his sons, and taken apprentices, +bequeathing to Nicolo his plant and pupils.</p> + +<p>Stradivari and the early Guarnerii then worked +together, cheek by jowl; by-and-by Stradivari migrated +to No. 5, next door, and the Guarnerii with Giuseppe +del Gesù, who died in 1745, the latest and greatest of +that family (surviving Stradiuarius, who died in 1737, +eight years), then set up at No. 6.</p> + +<p>As I have had occasion to remark elsewhere, these +three names, Amati, the Guarnerii, Stradivari, there +be none like them; these three shops opposite the<span class="pagenum" id="Page_56">[Pg 56]</span> +big Church of S. Domenico, now demolished, there +never were nor will be three such violin shops.</p> + +<p>Here were made, in long, quiet years of peaceful +labour, between 1560 and 1760, in steady and friendly +rivalry, all the greatest violins in the world.</p> + +<p>The Giuseppe del Gesù on which Paganini played, +now in the Town Hall in Genoa, the Stradiuarius on +which Ernst, now Lady Hallé (1898), plays, Canon +Percy Hudson’s violoncello, Joachim and Wilhelmj’s +“Strads,” the Alard, the Betts, the Dolphin, the +Messie, the Pucelle, the Tuscan, the Fountaine, the +Rode, and the Viotti—these be the wonders of the +violin world.</p> + +<p>But in following the development of the Guarnerii +family into the seventeen hundreds, the position of +Giuseppe del Gesù, the king of the Guarneri, must be +clearly defined before we describe the rise and progress +of Stradivari, who ran parallel with, and who, in the +estimation of most violinists, seems to combine in himself, +the <i lang="fr">ne plus ultra</i> of all violin perfection.</p> + +<p>Nothing about Giuseppe Guarneri del Gesù is more +remarkable than the determined way in which, after +examining the Amati types, he deliberately went back +to the Brescian Gasparo and Maggini models for inspiration. +The time had come when powerful tone +was wanted. The Amatis were sensitive, sweet, and +weak; in the larger and more massive Brescians +Giuseppe found the suggestion of what he was destined +to make perfect. If only he could add their +volume to the Amati sensitiveness—an hour more or<span class="pagenum" id="Page_57">[Pg 57]</span> +less spent on the cutting of corners or neater purfling—what +did it matter? Strength, power, was what he +wanted, and the sentiment is thrown off in the bulldog +type of his head or scroll, in the thickness of his +boards so much criticised, in the boldness rather than +the grace and delicacy of his curves.</p> + +<p>He tried many experiments: flat make, full make, +sound-holes cut almost perpendicularly, shortened, +slanting, and sometimes disproportionately long. He +was watching the effect on the volume and quality +of tone, and when he had in his own way conquered +that secret of grand sonority, whether empirically or +by calculation, then, and not till then, his workmanship +improves.</p> + +<p>He was like a man who had no time to think of the +delicate cooking till he had stayed his main appetite. +His frequent habit of cutting the wood upon the cross, +<i lang="fr">à contre sens</i>, as in the case of Mr Alfred Gibson’s +instrument (1897), a superb specimen of Del Gesù, +shows up the coruscations of the grain, and brings out +each pore and vein by the agate-like varnish—not +agate-like in the sense of the French chippy varnish, +but in its clear crystalline depth and transparency. +Del Gesù’s varnish is never clotted, but is laid on +thoroughly, yet with a light hand. Mr Ruskin used +to say that Sir Joshua Reynolds’ touch was so light +that he could paint on a gossamer veil; Del Gesù’s +brush is also as light as a feather. Some of Del Gesù’s +later violins, dating from about 1740, after the death +of Stradivarius, are amongst his finest. The one used<span class="pagenum" id="Page_58">[Pg 58]</span> +by Professor Sauret, and the other lent to Mr Ludwig +by Mr Frazer, are particularly fine, and belong to this +period. Paganini’s Joseph, now in the Town Hall at +Genoa, Alard’s, in the Museum of the Conservatoire of +Music, Turin, and Vieuxtemps’, now in the possession +of Maurice Sons, also belong to this great period.</p> + +<p>The life of Joseph Guarnerius is more or less enveloped +in mystery. It seems, for instance, utterly +impossible to get at the truth about the so-called +prison fiddles. Whenever a Joseph or a presumed +Joseph which is not up to Joseph’s standard comes +into the market, it is dubbed a Del Gesù prison-fiddle.</p> + +<p>The story runs that Giuseppe, being a somewhat +reckless person, got into trouble and was locked up for +many years, during which time the gaoler’s daughter +got him any wood she could find, and he made these +inferior pot-boiling fiddles, which she disposed of for +such moderate sums as she was able.</p> + +<p>I prefer to put this legend wholly aside. Del Gesù +may not have held sacred things in high estimation, +and he may have been somewhat of a free liver—this +rests on the authority of Carlo Bergonzi’s grandson, +who was not even a contemporary of Del Gesù—still +he may have got the gossip from Bergonzi, his own +father, who was Stradivari’s pupil, and doubtless a +rival maker; and tongues may wag when interests are +or seem to be opposed, and stories will come forth +finely variegated when there is an extraordinary absence +of reliable facts, as there undoubtedly is in the case of +Del Gesù.</p> + +<figure class="figcenter illowp58" id="i_058a" style="max-width: 50em;"> + <img class="w100" src="images/i_058a.jpg" alt="Picture of an old violin back and front."> +</figure> + + +<p><span class="pagenum" id="Page_59">[Pg 59]</span></p> + +<p>There is, however, no direct evidence whatever that +Del Gesù was for years in prison and that he died +there, as says the legend; but Canon Bazzi of Cremona +has lately unearthed one Girolamo Guarneri who <em>did</em> +die in prison in 1715, and the names of two very +different men, one illustrious and the other obscure, +have before now got mixed up, to the detriment of +the illustrious one.</p> + +<p>Something similar is said to have happened to the +great Athanasius, whose name has been confounded +with that of the obscure Pope Anastasius, in whose +presence a creed was recited by one Bishop Victricius, +and the confession of faith thus recited by command of +<i lang="la">Anastasius</i> now passes as the creed of Saint <i lang="la">Athanasius</i>, +since it emphasises the Trinitarian doctrine chiefly +connected with the name of that illustrious doctor.</p> + +<p>A Giuseppe del Gesù is much more difficult to find +than a Strad—his output, as compared to that of +Stradivarius, is as one to six; his life was shorter, and +his working career probably more erratic. But he is +placed on a level with the immortal Antonio by some +who know how to handle him, and the prices of his +wares have already reached four figures.</p> +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> +<p><span class="pagenum" id="Page_60">[Pg 60]</span></p> + +<p class="center"> +CHAPTER V</p> +</div> +<br> +<p class="center"> +VIOLINS AT CREMONA—<em>continued</em></p> + + +<p>There is something inexorable about the concensus of +posterity.</p> + +<p>Individuals may chafe under it, and writers may +try to reverse its verdict. You even have crazes for +the revival of neglected poets, painters, and musicians, +but you will never succeed in pushing from their pedestals +the great gods whom posterity has once decided +to bow down to.</p> + +<p>De Beriot may choose to play on a Maggini, and +Paganini may prefer his Joseph, but even Maggini, +Nicolo Amati, and Giuseppe Guarnerius, who stand +round as it were saluting one another, leave Stradivari +apart by himself like a Colossus on a mountain, +and yet no one, not the greatest connoisseur, is +able to say exactly why. When so many esteem +individual violins above some Strads, and when Joseph +del Gesù is held to run the magic master very hard, +still Strad stands apart upon his mountain for all men +to look up to and wonder at. And why? We can +only say it is the way with all the greatest; there is +something of the mystery of heaven about the incommunicable +touch; the true aureole forms about no head +to order, and the lonely seats are kept for the mighty.</p> + +<p><span class="pagenum" id="Page_61">[Pg 61]</span></p> + +<p>Antonio Stradivari or Stradiuarius was born in 1644, +and died, in his ninety-third year, in 1737. We get the +date of his death from the register, and the date of his +birth is fixed by a violin label (1736) in his own handwriting, +in which he states that he was ninety-three +years old when he made the instrument.</p> + +<p>Stradiuarius married at the age of twenty-three a +woman of twenty-seven, who had been a widow for +three years, whose maiden name was Ferraboschi, and +he adopted her one little girl. By her he had six +children, some of whom died before him. His second +wife, whom he married several years later, bore him five +children, two of whom died before him—so that in all +Stradivari had eleven children. None of them seemed +to have inherited their father’s genius; only Omobono +and Francesco Stradivari made even decent fiddles, +and so far maintained the great name as to succeed at +first in selling their wares at their father’s prices. The +buyers probably hoped that at least the wood might +have been selected by Stradivari <i lang="fr">père</i>, and much of it +probably was; and if there was the chance of getting a +spare rib or back or belly with a touch of the master +upon it, it was surely worth a little speculation.</p> + +<p>Antonio Stradivari and Andrea Guarneri, as stated +before, were young <i lang="it">garzoni</i> or apprentices together in +the workshop of the great Nicolo Amati—sat on the +same work bench, used the same tools, and doubtless +discussed the same problems.</p> + +<p>In and out of that shop ran, no doubt, the boy +Giuseppe <a id="tn_61">Guarneri</a> to see his uncle Andrea. He must<span class="pagenum" id="Page_62">[Pg 62]</span> +have always found Stradivari there; and when, later +on, Giuseppe imbibed a taste for fiddle-making, and +became himself the great Del Gesù, it is hard, I insist +upon it, to believe that what must have been a lifelong +acquaintance with the mighty Stradivari should have had +no influence whatever in forming his ideas and methods.</p> + +<p>There is no mention of the youthful Stradivari +having accompanied Andrea Guarneri to the wedding +of his master, Nicolo Amati; Andrea was doubtless the +older pupil, and Antonio Stradivari was taken on later.</p> + +<p>“If thou wouldst teach, learn; if thou wouldst create, +first copy.” It is generally held that for some years, +roughly between 1660-70, Stradiuarius simply made up, +blocked out, drew, glued, mixed varnish, and worked +generally, but without signing his own name to any +fiddles. He was <em>learning</em>; but in 1660 he begins to +sign his name, not from pride, but because his master +made him do so. From before that date to about +1670, which brings us to within fourteen years of +Nicolo Amati’s death, he made what are sometimes +called Amati Strads.</p> + +<p>At this time Antonio followed closely the violins of +the early Nicolo rather than the grand Amati pattern, +but he appears to have followed his master’s developments +continuously, slowly, but surely.</p> + +<p>There exists a Stradivari violin with a label Nicholai +Amati (anno 1667), and about that date (when he +married) Antonio seems to have left his master’s workshop, +but still continued closely to copy Nicolo, and +many violins of his between 1660 and 1670 pass as<span class="pagenum" id="Page_63">[Pg 63]</span> +Amatis, whilst others are called Amati Strads, and +some are apparently joint productions.</p> + +<p>When Stradiuarius married (about 1667) and left +Nicolo Amati, he set up round the corner in the same +street as the brothers Guarnerii, and almost next door +to them, in the square opposite the great Church of +S. Domenico. From about this time connoisseurs notice +a great improvement in Stradivari’s technique; but up +to 1672 at least, remaining a close copyist of Amati, +he doubtless kept on terms of the closest intimacy +with Nicolo, now in his decline, and benefited by the +abundance of orders flowing in for Amati violins which +the old master was unable to execute.</p> + +<p>From 1660 to 1684 was a period of great activity, +perhaps haste; even some pot-boiling Stradivari violins +may then have been made as the young family increased. +Antonio’s wood is often plain about this time, and not +up to the best taste and selection of his master, but he +evidently remained his right-hand man to the end; and +when Nicolo died, at the ripe age of eighty-eight, he +left all his tools and his plant not to his son Girolamo, +then about thirty-five, but to Antonio Stradivari, then +just forty years old.</p> + +<p>In 1680, four years before the death of Nicolo, +Antonio had so far prospered as to be able to buy his +house (which I visited in 1880), at 1 Piazza Roma, for +about £800. Desiderio Arisi, a Cremonese, has left an +interesting MS. in which he speaks of “his intimate +friend Antonio Stradivari.” The MS. is dated 1720, +or seventeen years before the death of Stradivari.</p> + +<p><span class="pagenum" id="Page_64">[Pg 64]</span></p> + +<p>Arisi alludes to a point of great interest which early +excited my attention and curiosity—the many-sidedness +of the man. “In Cremona,” writes Arisi, “is also +living my intimate friend Antonio Stradivari, an excellent +maker of <em>all kinds of musical instruments</em>.” Indeed, +he could make anything that was in demand, and +he did; he could “fancy-purfle” to order, inlay, make +fiddles in odd shapes, or with a twist in the curve +here or there, or longer or shorter for experiment, or +big or small.</p> + +<p>The Marquis Carlo dal Negro of Genoa owned a +Stradivari harp in 1820. The master was not above +making mandolines and lutes to order. Messrs Hill +own a perfectly plain Stradivari guitar in fine condition. +It is of exquisite close-grained wood. I have +often wanted to hear the sound of that guitar. I +noticed a Stradivari cithern in the South Kensington +Loan Collection with an elaborately carved female head +of great beauty. I did not wonder that he who could +carve such scrolls could carve a head or anything else.</p> + +<p>There are, or were, within the present century, other +gems of workmanship, some of which it is to be feared +have perished, children’s fiddles, instruments made with +small figures, flowers, arabesques. Everything that +comes from his hand is finely accurate in drawing. +Sometimes his decoration is merely painted in black, +sometimes ivory, ebony, or mother-of-pearl is used, +but everything Stradivari did was perfectly done; he +qualified himself to the <em>n</em>th, as mathematicians say, for +each branch of his art.</p> + +<p><span class="pagenum" id="Page_65">[Pg 65]</span></p> + +<p>In these days one man draws, another blocks out, +another inlays, another finishes. Stradivarius did all, +and did all consummately well. His heads and arabesques +are worthy of Cellini, his inlaying of the finest +Florentine marqueterie; his scrolls and curves are of +Pheidian beauty; his varnishing is his own.</p> + +<p>On the death of Amati, Stradiuarius and the Guarnerii +had the Cremona market to themselves, and +whilst the competition was quite wholesome, there is +no reason to suppose that their rivalry was other than +a friendly one. They had all been brought up together, +they had worked as boys together, they had +doubtless lent each other tools, touched up each other’s +backs and bellies, varnished each other’s ribs, criticised +each other’s scrolls from boyhood; and now that the +Cremona violin was in the ascendant, and kings and +nobles from Spain, France, Germany, Saxony, and +even England were anxious for Cremona fiddles, there +was a market for them all.</p> + +<p>The bitterness of competition is not always due to +rival makers, but often to over-production; and such +a thing as over-production of fiddles in those days +was unknown. Nay, the orders that came in could +not be executed fast enough. Music walked faster +than the instruments could follow it. When the +King of Poland wanted a Strad violin he knew his +man, and sent his Capelmeister Voleme to Cremona, +with orders to stop there and bring back the twelve +violins ordered for the court orchestra. “So,” says +Arisi, “Voleme arrived in 1715 on the 10th June, and<span class="pagenum" id="Page_66">[Pg 66]</span> +remained there three months, and when all the instruments +were ready he took them with him to Poland.”</p> + +<p>But at this time Stradivari was at his zenith. +“There is not in the world,” writes Lorenzo Giustiniani, +a Venetian nobleman, to the great artificer in +1715, “a more skilled maker of musical instruments +than yourself, and as I wish to preserve a record of +such an illustrious man and famous artist, I trouble +you with this letter to ask whether you feel disposed +to make me a violin of the highest quality and finish +that you can bestow upon it.”</p> + +<p>But we must not anticipate.</p> + +<p>After the death of the illustrious Nicolo Amati, +this patient pupil, this careful copyist, this accurate +and tireless student and experimentalist, begins to +assert his strong individuality. His scroll departs +from the feminine Amati type, and becomes striking +and independent, his sound-holes recline more, his +corners are pronounced, his middle bout curves are +prolonged, his varnish is almost fancifully varied from +rich gold to soft velvety red. His wood is now invariably +chosen with the utmost care, and as he made +chiefly for the nobility, royalty, and the higher clerical +dignitaries, he was not only on his mettle, but he could +afford to work just as he chose.</p> + +<p>In 1682, Michele Monzi, a rich Venetian banker, +sent him an order for a chest of violins, altos and +’cellos, which were to be presented to our King +James II. They were so much liked that his Majesty +ordered a viol di gamba of Stradiuarius in 1686.</p> + +<figure class="figcenter illowp47" id="i_066a" style="max-width: 62.5em;"> + <img class="w100" src="images/i_066a.jpg" alt="Picture of four violins"> + <figcaption class="caption"><p class="center">Rode Strad — Spanish Tenor — Spanish Strad<br>Christina Strad<br>CELO</p></figcaption> + </figure> + + +<p>In 1685, Cardinal Orsini, afterwards Pope Benedict +XIII., had ordered a violoncello and two violins of him, +besides making him “one of his private attendants,” an +honorary title, but equivalent to appointing Stradiuarius +instrument-maker to the Cardinal Archbishop. +We commend this fact to his Holiness Pope Leo XIII. +(1897), who has lately placed the violin on his <i lang="la">index +expurgatoritus</i> of instruments, as being too frivolous +for the solemnities of divine service! Yet Pius IX. +was a pretty good fiddler.</p> + +<p>In 1687 Stradivari makes his famous set of instruments +for the Spanish Court, inlaid with ivory, with a +scroll-work running round the sides. One of these +rarities—a violin—found its way into the hands of Ole +Bull, the famous violinist. It has been since sold in +England to Dr Charles Oldham of Brighton. The +tenor is, I believe, in existence. When last in the +market, it had lost its ivory purfling, which has since +been exquisitely replaced by Messrs Hill.</p> + +<p>There are extant several very small violins made +evidently to order about this period. The fallacy of +different sizes for different ages from childhood upwards +is one which will always smile to makers and those acute +persons who teach the violin and buy their pupils’ instruments, +which of course have to be changed as the +children grow up, for larger and larger ones. I have +always protested against this. A child of eight had +much better play the violin like a violoncello (at the +age of seven, as I did myself) than be given a small +one; but when I was eight I could hold a full-sized<span class="pagenum" id="Page_68">[Pg 68]</span> +violin to my chin—not quite in the correct position, no +doubt, but near enough. Thus from the very first, +when at six or seven years of age, I played the violin +like the violoncello, I never had to <em>unlearn my intervals</em> in stopping the strings. <i>The brain learns intervals.</i> +An habitual tenor player never plays the violin quite +in tune, and <i lang="la">vice versâ</i>; and so every time a larger violin +is placed in the pupil’s hands, the brain is bothered with +the narrower stopping learned in the preceding period. +Still, no one can regret the exquisite cabinet, almost +toy specimens, made by the Amati and Guarnerii as +well as by Strad. Artistically they are gems; musically, +fallacies. I have never got anybody to agree with me +about not using dwarf fiddles. Joachim, I believe, contended +that for a child to use a large fiddle stiffens +his muscles. I don’t believe it; it certainly did not +stiffen mine. I believe I am also in a minority in my +partiality for old bridges. Neither theory is, in fact, +“good for trade.”</p> + +<p>In 1690 Stradivari executed a celebrated order for +the Prince of Tuscany, through the Marquis Bartholomeo +Aribati. Of these <i lang="it">chefs-d’œuvre</i> the Marquis +writes: “I assure you the Prince has accepted your +instruments with more pleasure than I could expect. +The players in the orchestra are unanimous in expressing +appreciation. They declare your instruments to +be quite perfect; they all say they never heard a violoncello +with such a tone as yours. My having brought +to the knowledge of such a person as his Highness your +great skill will doubtless procure you many orders from<span class="pagenum" id="Page_69">[Pg 69]</span> +his exalted house”—and then follow more orders for +two tenors. On this occasion, we learn, from the relics +of Stradivari in the possession of the Marquis della +Valle, that the great violin-maker characteristically +enough made the most beautiful cases for the royal +instruments, decorating them profusely with armorial +bearings and symbols appropriate to each instrument.</p> + +<figure class="figcenter illowp47" id="i_068a" style="max-width: 62.5em;"> + <img class="w100" src="images/i_068a.jpg" alt="Picture of three violins"> +<figcaption class="caption"><p class="center">Rode Strad — Spanish Tenor — Spanish Strad</p></figcaption> + </figure> + + +<p>The order was given in 1684, but the instruments +were not handed in till 1690. The Grand Duke, it +seems, came back for more, as there was found amongst +his instruments a violin of the grand pattern bearing +the later date, 1716.</p> + +<p>I cannot forbear to call attention to the exquisite +chromo-lithographs of the Tuscan violin, and the lucid +description and history of this last-named famous +masterpiece, in Messrs Hill’s handsome monograph. +He declares it to be in the very finest preservation still, +with an unbroken and authentic record, and to possess +all the noblest qualities of the incomparable master. It +is on the very verge of his great period, bearing the date +1690, and was bought by Mr David Ker in 1794. The +Tuscan viola and violoncello are still in the Institute +at Florence, and I advise all lovers of Cremona who +get the chance to go and inspect them.</p> + +<p>The only other point of great general interest before +the year 1700, when Stradivarius enters on his golden +period, is the deliberate manufacture of a certain number +of violins on a pattern distinct from the Amati, +and from any patterns adopted by himself before 1686-1694, +or after 1700. These instruments are known as<span class="pagenum" id="Page_70">[Pg 70]</span> +long Strads, and they seem to be a sort of constructional +or experimental link between the smaller Amati +pattern and the grand Strad pattern of 1700-37—a +model evidently suggested by the grand Nicolo, but +not adopted by the cautious Strad till some years after +Nicolo’s death.</p> + +<p>From 1694 to 1700 Stradivari not only went out of +his way to make long Strads, which not only looked +longer because they were narrower and pinched in, but +actually were longer—<i lang="it">i.e.</i> 14-inch, as compared to the +1690 13-inch Strad. In other respects also he walked +through his own traditions. Having mastered all +violin lore, he was evidently at last trying a series of +daring experiments to settle in his own mind once and +for ever certain problems of tone.</p> + +<p>We have known painters trifle with colour in the +same way. Gainsborough would paint his blue boy, +and Whistler symphonies in green, mauve, or anything +else unexpected, and Turner would recreate the light +that never was on sea or land; but in reality it was no +trifling, but study in arrangement of colour. So you +can have study in construction, empirical ventures, and +a testing of tone problems, whether in sound or colour.</p> + +<p>As Stradivari mused and carved, and glued and varnished, +year after year, his meditations might run thus: +“Flatten the belly—thicker here or there according to +wood, density of fibre; air column restrained by narrow +width, as in the long pattern, but same cubic inches of air +allowed for in length or height of ribs, only differently +defined by different shapes of instruments. Enlarge<span class="pagenum" id="Page_71">[Pg 71]</span> +width, thin planks, but try different thicknesses; see +how different densities of wood go together. Try old +seasoned wood for back, newer for belly, or <i lang="fr">vice versâ</i>; +if wood hard, thin it; if soft, thicken it; try effect of +higher ribs on flat curves; lower the ribs on more +bulgy curves and grooved sides. What did Nicolo +aim at with his grand pattern? Adopt his width and +size, and flatten his belly. Try and save his sweetness +(did the grooves give that?) with the flatter back and +belly, which gives louder tone, adopting the mathematical +curve of nature, suggested by the vibration of +a string; certainly that gives power. Is a joined back, +or a back in one piece, best or indifferent? That would +depend on wood attainable. How would it be to patch +bits of precious wood if inter-congenial? That generally +succeeds. A good secret that, but an open one—wanted +always the patcher!”</p> + +<p>This idea of patching was certainly one of the most +inspired thoughts that ever occurred to him. He seems +to have kept wood of the finest acoustic properties for +his best orders. He had favourite planks; we can +trace one of these by a stain that runs through the +grain, and the wood crops up again and again in some +of his best fiddles.</p> + +<p>The plank must have been known to his pupils, for +the remains of it were worked up after his death.</p> + +<p>“Now for the sound-bar,” ponders Stradivari; +“thick or thin, according to the density or elasticity +of the back and belly. And its position? A little +transverse, of course—slightly diagonal to be in the<span class="pagenum" id="Page_72">[Pg 72]</span> +line of vibration. Study effect on power of different +strings by placing it a fraction of an inch one way or +another; place it slightly aslant for experiment. And +the varnish?” But that will call for a few separate +paragraphs by-and-by.</p> + +<p>I have tried to indicate the kind of observation and +meditation, demanding unlimited time, patience, and +love, which Stradivari devoted for the better part of a +century to his art, and without which those Cremona +<i lang="fr">chefs-d’œuvre</i>, the Dolphin, the Messie, Tuscan, Betts, +and Pucelle Strads, could never have come forth.</p> + +<p>I have alluded to Strad’s taking late to the large +Amati pattern for violins, inclining for some time to +the small size. I do not know that any one has yet +noticed that in violoncellos Strad reversed this order of +work, making his early violoncellos large, and diminishing +their size. As he reached his golden period he +probably felt that the demands made by virtuosity +and tone-power were quite alike consistent with a +larger type of violin and a smaller and more manageable +size of violoncello.</p> + +<p>The violinist is well aware of the value of Strad’s +golden period, which will cost him gold; for, after +about 1700, a fine Strad will be worth to him from +£1000 and upwards, according to its condition.</p> + +<p>The long apprenticeship was at last over, and in +1700 the master had reached the ripe age of fifty-six, +an age at which so many have achieved their greatest +work. He was at the acme of his power, experience, +and fame; no one could teach him anything now, and<span class="pagenum" id="Page_73">[Pg 73]</span> +apparently he had nothing to learn. He could at last +wield his tools as a Millais or a Tadema wields his +brush, a Flaxman his pencil, a Canova his chisel, or as +a Mozart or Wagner handles his score. He knew what +he wanted, and he could do it, and do it with a spontaneous +ease and joy which seems even now to smile +to us from the saucy corners of his bouts, the free +daring curves of his grand pattern, and the lightly +tossed and lifted scrolls.</p> + +<p>No one has failed to notice the masterful ease, the +emancipation from all mannerism, the cool defiance of +precedent and uniformity, and even symmetry, which +characterises his great period from 1700 to 1730.</p> + +<p>The violins are not all alike. Strad knew that the +secret was not merely in the pattern or shape; he could +vary his curves, and yet produce masterpieces, because +he knew all about the air column, the wood densities, +and the proportions and quantities which should be +combined for the requisite result, and he could mix +them differently like a master colourist. He no more +treated every violin as if it had the same constitution +than does a physician treat every human body alike; +it is not so much nitrogenous or carbonaceous food, +and so much liquid, but it is these and other things +used in proportion, according to your digestion and +temperament, which will produce in that instrument, +your body, the harmony of health; and how close is +the analogy between the constitution of a violin and +that of a human body—how varied is the texture, the +tissue, quality, fibre, and density of the component<span class="pagenum" id="Page_74">[Pg 74]</span> +parts of each—I have endeavoured to point out as +succinctly as I could.</p> + +<p>So, in the grand period, the grand pattern Strads +are all made with a trained, almost inspired instinct, +according to those laws which govern the tone qualities +aimed at; but the fiddles are by no means alike to look +at. They have the charm of imaginative variety, combined +with the unity of supreme excellence.</p> + +<p>To this great period belongs the Dolphin Strad, so +called, it is said, from the melting and almost iridescent +tints of the varnish. To me, however, the violin almost +suggests the life, freedom, and elegant poise of that +graceful fish whose name it bears. The beauty and +acoustic properties of the Dolphin wood are quite +special, and can easily be compared with other violins +of the same period, some of which are much plainer +to look at, and somewhat different in form, and though +very charming, hardly so bell-like in tone.</p> + +<p>The last time I had the privilege of touching the +Dolphin Strad was at my lecture on violins before the +Royal Institution in 1880. I shall never forget its +ringing notes and its exquisite sensibility. It seemed +anxious to speak before it was spoken to; when touched, +it seemed to do all for itself like magic. Instead of +the player showing it off, it shows off the player; he +begins to feel he has nothing to learn in tone production. +It is almost like sitting at those ingeniously +contrived pianos that make elaborate music, and you +merely have to put your hands on a dummy keyboard, +press the keys, and appear to be playing, and<span class="pagenum" id="Page_75">[Pg 75]</span> +then you roll off Chopin and Mendelssohn perfectly, +though you can scarce play your scales! Since then +Vuillaume’s sound-bar has been replaced with a stronger +one by Messrs Hill. It seemed to me quite perfect +before, but I suppose one must bow to experts in +such matters.</p> + +<p>The best opinion limits the number of instruments +which Strad made to about two thousand, only eight +hundred of which at most are known to be extant. +Compared with any other maker except Vuillaume, +both as regards output and survival of work, Strad +probably bears the palm.</p> + +<p>An elaborate description, a careful portraiture of +every known Strad, together with its history, as far +as recoverable, I must leave for some more gifted and +industrious recorder. I believe Messrs Hill are preparing +the most complete monograph on Stradivari +which has ever yet or is ever likely to appear, and +I only wish I could dip into their MS. and steal a +few pages. It will certainly, when it appears, be a +monumental work, and there is no time to lose, as +many of these gems are known to have been destroyed, +others dismembered, whilst some are at the bottom of +the sea. There are, however, a few more famous specimens, +which are of such unique interest that they cannot +be passed over even in so general a survey as this.</p> + +<p>Mr Croall (1897) of Edinburgh is the happy owner +of M. Artôt’s Strad, varnished dark red, quite perfect, +and one of the finest known for tone; it is dated 1716. +Lady Hallé still plays on Ernst’s violin, bought for<span class="pagenum" id="Page_76">[Pg 76]</span> +£500, and presented to her by the Earl of Dudley +and some others. I shall never forget the wonderful +effects elicited from it by the great magician Ernst +in his palmy days, nor can I understand the statement +recently made that its tone is difficult to elicit. I have +heard the faintest vanishing whisper of its strings on +the Covent Garden stage when, as a boy, I was seated +up in the top gallery at one of Benedict’s monster +season concerts early in the fifties.</p> + +<p>A romantic interest attaches to two Stradivari violins +which have come down to us in absolutely perfect condition: +one is called the Messie, the other the Pucelle +or the Virgin.</p> + +<p>The Messie was secured by Vuillaume after the death +of that remarkable man Luigi Tarisio, to whom further +on I devote a special section. It bears date 1716.</p> + +<p>Tarisio would never let it be seen till Vuillaume +possessed it; it had then never been touched or played +upon. He lengthened the neck, but, without <em>inserting</em> +his new neck, he fixed it to a block placed outside the +ribs. Count Cozio de Salabue had bought it in 1760, +but never allowed it to be played upon.</p> + +<p>Tarisio bought it after the Count’s death, and at +his own death in 1854 it passed to Vuillaume, and +was exhibited (No. 91) in the South Kensington Loan +Exhibition of 1872, and for the first time unveiled +beneath glass to the gaze of admiring thousands.</p> + +<p>When I first saw the Messie I could not believe my +eyes. It was covered throughout and uniformly with +thick rich red-brown varnish, laid on with a firm brush,<span class="pagenum" id="Page_77">[Pg 77]</span> +level and lavish. It seemed to have left the workshop +only the day before; the anointed glitter of the fresh +varnish was upon it, it looked hardly dry. It is of +the grand pattern, but not heavy and massive like +some of the great Del Gesù’s, but beautiful as a +Pheidian carving, full of a certain special grace and +elegance. One “∫” is a shade lower than the other—a +practice <em>so common</em> with Strad, especially in his later +period, that it must have been intentional, his artistic +eye not tolerating even the suggestion of mechanical +uniformity. The Greeks worked similarly, no two sides +of their Corinthian capitals ever quite matching.</p> + +<p>The “Messiah” back is in two pieces, the corners +are absolutely unrubbed, and completely covered with +varnish—of no other specimen can this be said. The +head is light and graceful, “the scroll,” as I have +elsewhere observed, thrown off like a ribbon lightly +curled about the finger, and drawn in, one side of +the scroll cut a little lower than the other; the lines +of the scroll are picked out with thick black paint; +only faint traces of this remain in other violin heads. +The black outline was artistically conceived, as it called +full attention to the scroll curve, always so characteristic +a part of violin physiognomy.</p> + +<p>As the Messiah recently bought by Mr Crawford +of Edinburgh for £2000 has now been played upon, +it seems a pity that the world should not sometimes +be allowed to hear its voice; and I venture to say that +a well-advertised concert, in which two of our finest +violinists should be invited to play on the Messiah<span class="pagenum" id="Page_78">[Pg 78]</span> +and the Pucelle—<i lang="la">i.e.</i>, each player upon each instrument +once, thus giving four solos, so that the audience +might hear the same violins under different fingers—would +be an epoch in the musical world. The announcement +would doubtless pack St James’s or any +other London hall.</p> + +<p>The Pucelle or Virgin is the last Stradivari violin +I have space to notice. The “Virgin” is so called +because its interior organism had, up to the time when +it came into M. Vuillaume’s hands, not been interfered +with—<i lang="la">i.e.</i>, the inside bass bar had never been touched. +All the old violins have had these bars strengthened, +and their necks lengthened, to meet the strain of the +modern high-pitch tension of the strings on the belly, +and the lengthened finger-board which the development +of advanced virtuosity demands.</p> + +<p>These readjustments the Pucelle owes to Vuillaume. +She is in fine preservation otherwise, although her +varnish is a good deal rubbed in places. Her contour, +so fanciful are even good judges, is by some considered +more graceful than that of the Messiah, but less graceful +by others. To me there seems to be little to choose +between them; each is a distinct conception.</p> + +<p>The Virgin’s varnish is of a rich soft brown and +yellow tone, rather contrasting with the Messiah’s +bright red. The head is stronger and less graceful +than that of some Strads (the Dolphin’s, for instance); +the Virgin’s back is in two parts, the belly is a little +higher than that of the Messiah. The only vestige of +repair about her is where the chin has rubbed into the<span class="pagenum" id="Page_79">[Pg 79]</span> +purfling, which has accordingly been renewed. The +corners are somewhat fancifully cut, running straight +out in the top bouts, and hanging away in the lower +bouts; there is a rather marked indentation of the +curve beneath them.</p> + +<p>The Virgin is labelled 1709, and she reached Paris +in 1840 (of course it is a Tarisio violin); it has been +owned by Mons. le Roy, a banker, and passed to his +heir, Mons. Glanday. She is now the property of +a member of the same family, and is very jealously +guarded by her owner.</p> + +<p>In vain does imagination seek to recover the image +of the great maker as he lived and moved and had +his being through ninety-three years of shower and +shine. Undisturbed by petty sieges and local disturbances +and changes of administration, sought for +and admired impartially by the friends and the foes +of his country, he wrought out calmly his own matchless +ideal.</p> + +<p>Violins have no politics, and the great republic of +Art dominates the ages, and comprehends whilst it +survives the rise and fall of dynasties and empires.</p> + +<p>I sometimes seem to see the grand old man standing +at the door of his modest but comfortable house—a +tall, thin, perhaps rather gaunt figure, most likely not +a man of many words, carrying on for ever mental processes +connected with his subtle handicraft, seldom seen +without a chisel in his hand.</p> + +<p>Behold him just risen from his stool, or come round +to superintend or criticise a carelessly cut scroll of<span class="pagenum" id="Page_80">[Pg 80]</span> +Bergonzi, his best pupil; and before he goes up into +that almost sacred attic, open to the air, at the top +of the house, where hang the varnished fiddles and +anointed strips a-drying, he mutters a rebuke or rectifies +a curve.</p> + +<p>The old man comes to the door, and stands for a +moment looking down the street. He wears his woollen +nightcap and his inevitable leather apron; he salutes +the neighbours as they pass, but they do not stop to +speak to him, they know he has no leisure for that. +Only later, at the café-cabaret, it may be, he will chat +with Joseph Guarnerius, and exhort him to more refinement; +or tell his sons they will never uphold the +reputation of the firm if they do not work harder; and +as it is known that the master detests interruptions +at home, in those moments of rare leisure when he +emerges with the regularity of clockwork to sip his +<i lang="it">vino</i> or <i lang="it">sirop</i> or coffee, Capelmeister A. or Padre B. +or Monsignor C. may surprise him for a chat, and +inquire timidly when the violoncello or quartet of +violins ordered are likely to be ready, and get for reply +something too enigmatic or oracular to be of any service; +so patrons or patrons’ emissaries had to sit down +at Cremona and wait on the master’s convenience for +the masterpieces that could be got nowhere else.</p> + +<p>His prices seem to have been altogether moderate, +but we must remember that the value of money was +far greater in those days, a sovereign going then nearly +as far as five go now.</p> + +<p>He sold his violins for £10 (= £40); the original<span class="pagenum" id="Page_81">[Pg 81]</span> +price of his violoncellos and violas does not seem to +be known.</p> + +<p>Although he had a large family, he must have made, +if not inherited, money, for there seems to have been a +proverb current at Cremona, “As rich as Stradivari.”</p> + +<p>Some years ago, fresh from my visit to the house +of Stradivari, then still standing in the Piazza Roma, +Cremona, I gave a full description of the great maker’s +<i lang="fr">entourage</i>, which I need not here repeat; but a single +paragraph may serve better than anything that I +can now write, at the distance of over a decade, to +place the reader in the atmosphere in which Antonio +Stradivari worked for more than half a century.</p> + +<p>I stood in the open loft at the top of his house +where still in the old beams stuck the rusty old nails +upon which he hung up his violins. And I saw out +upon the north the wide blue sky, just mellowing to +rich purple, and flecked here and there with orange +streaks prophetic of sunset. Whenever Stradiuarius +looked up from his work, if he looked north his eye +fell on the old towers of S. Marcellino and S. Antonio, +if he looked west the Cathedral with its tall +campanile rose dark against the sky, and what a sky! +full of clear sun in the morning, full of pure heat all +day, and bathed with ineffable tints in the cool of the +evening when the light lay low upon vinery and hanging +garden, or spangled with ruddy gold the eaves—the +roofs and frescoed walls of the houses.</p> + +<p>Here, up in the high air, with the sun his helper, +the light his minister, the blessed soft airs his journeymen,<span class="pagenum" id="Page_82">[Pg 82]</span> +what time the work-a-day noise of the city +rose and the sound of matins and vespers was in his +ears, through the long warm days worked Antonio +Stradivari.</p> + +<p>Before the time came for the busy hand to fail, +Antonio ceased to sign all the violins that he made; +but, with an old man’s natural pride, he continued to +sign a few down to the year of his death, registering +the number of his years in each case, and it is from +one of the latest of these, dated 1736, that we know +his age.</p> + +<p>He sank quietly to rest, evidently worn out naturally +and nobly, if not with his eye quite undimmed +and his natural strength unabated, certainly still full +of marvellous vigour, unpalsied senses, and undulled +perception.</p> + +<p>When the Chapel of the Rosary in the Church of +S. Domenico, opposite to which he had lived all his +life, was pulled down, his funeral tablet was rescued, +and it is now in the Town Hall at Cremona; but +where are his ashes? Are they in the present family +vault of the Stradivaris, in the Campo Santo of +Cremona, or in the parish of S. Matthew? I was +unable to ascertain. The tablet bears the following +simple inscription:—“Sepolcro di Antonio Stradivari +E svoi Eredi, Anno 1729.”</p> + +<p>Many of his family had preceded him to the grave, +both of his wives and six of his eleven children, his +last wife dying only nine months before him, a significant +and painful event in a life so regular and uneventful, +<span class="pagenum" id="Page_83">[Pg 83]</span>and one which may not unnaturally have hastened +his own end. None of the family seem to have been +buried in the S. Domenico vault, but in one belonging +to Signor Francesco Vitani, in the parish of S. +Matthew; so it may be Antonio lies there.</p> + +<figure class="figcenter illowp100" id="i_082a" style="max-width: 62.5em;"> + <img class="w100" src="images/i_082a.jpg" alt="Picture of a green landscape, +buildings."> +</figure> + + +<p>The Church of S. Domenico was pulled down several +years ago; the house of Stradiuarius was destroyed only +recently. The Piazza S. Domenico is now the Piazza +Roma, and when an average Cremonese is asked about +Stradivari, he thinks of the fashionable <i lang="fr">avocat</i> of that +name, who appears to spend his time chiefly at Milan, +and may possibly resent the notion that a man in good +society should ever have had ancestors connected with +fiddle-making. <i lang="la">Sic transit.</i></p> + +<p>The achievements in violin-making up to the first +quarter of the eighteenth century are clearly summed +up in the names of Antonio Stradivari and Giuseppe +(del Gesù) Guarneri.</p> + +<p>It would be an interesting and thorny question to +debate whether any variations of importance or additions +in excellence have since been noticeable, and +of course we naturally look to the best Cremonese +makers, who followed these giants of tone-power and +sweetness.</p> + +<p>The name of Carlo Bergonzi at once stands out as +worthy, if not to be bracketed with that of the two +mighty men, at least to receive their mantle and +reflect something of their lustre. Carlo Bergonzi was +Stradivari’s favourite pupil; he lived next door, and +afterwards occupied Stradivari’s own house with his son.</p> + +<p><span class="pagenum" id="Page_84">[Pg 84]</span></p> + +<p>He finished many of his master’s late violins, and +issued some others after his death collected from the +débris of the great man’s workshop; and Stradivari +left him all his tools and plant.</p> + +<p>He worked at Cremona between 1720-47 or 50, and +followed at first Stradivari’s example; for as Antonio +made his early fiddles on the pattern of Nicolo Amati, +so did Bergonzi closely copy the grand Strad pattern. +But later on, and before the death of the old man, +Bergonzi conceived the ambition of attempting to weld +the power of Giuseppe Guarnerius with the round, +bright, bell-like sweetness of the Stradivari. To what +extent he succeeded must be left to the judgment and +decision of connoisseurs, but the grand quality for +which his violins are increasingly appreciated is, no +doubt, their powerful sonority; that he clearly saw +must be the indispensable quality for all violins of the +future.</p> + +<p>The old tinkling days were over; the feeble, scraping, +and muffled viol tone was a thing of the past. The +instrument had finally emerged from the cloister, was +no longer to be a mere adjunct to the voice in dim +sacristies and cathedral choirs; its sphere henceforth +was to be out in the wide, wide world, its triumphs +were to be won in the concert room, the opera house, +and the grand musical arenas of solo virtuosity.</p> + +<p>And so, undoubtedly, what Bergonzi aimed at was +body of tone and <em>carrying power</em>, and he won it. This +dominant idea has modified even his pattern. He +looks bold and loud. Yet is the pattern not Guarneri,<span class="pagenum" id="Page_85">[Pg 85]</span> +but Stradivari modified. Notice the larger breadth of +the top curve, a certain bold angularity about the +bouts, and a freer development of the lower part of the +violin as well; the sound-holes set lower and nearer +to the purfling, and the flat model which Stradivari +discovered to be favourable to loudness. The scroll is +also characteristic—flatter in some places than that +of his master, but made to look bold and full of self-assertion +by reason of the strongly-defined and prominent +curl of the ear, which stands out and at once +challenges attention.</p> + +<p>The whole build is massive. The Bergonzi will +outlast the Strad; it will be the survival, if not of +the fittest, of the strongest. The very varnish is +laid on with a lavish hand, to allow for wear and +tear; it is even clotted in places, and is said in some +specimens to have cracked and become scurfy. It +is of a red Cremona brown, velvety, and quite the +right sort.</p> + +<p>Until within the last few years Bergonzi has not +received his dues; the scarcity of his instruments may +in part account for this; but in France, and especially +in England, he is now fully recognised and much +sought after. There are, however, only about sixty +authentic instruments of his known. His working +life was but about twenty-five years. Two notable +Bergonzi violins are those in the possession of Miss +Eissler and Signor Simonetti. There is a famous +Bergonzi double-bass of singularly fine quality now in +possession of Mr I. Sears of Boston. In Count Cozio<span class="pagenum" id="Page_86">[Pg 86]</span> +de Salabue’s collection there were two very fine Bergonzi +violins, dated 1731 and 1733.</p> + +<p>There were five other Bergonzis—a son and grandsons; +they all made fiddles, but they were of no account, +and were far surpassed by some other makers who themselves +belong to the decline period of the Cremona +school.</p> + +<p>Although I have called Bergonzi Stradivari’s best +pupil, it would be very unfair to ignore the merit of +Lorenzo Guadagnini (1695-1740), the only one of that +name who poses as a pupil of Stradivari. He was born +at Piacenza, but lived at Cremona till about 1740. In +about 1795 he removed to Milan after leaving his +master at Cremona, but returned to die in his native +town. His make is bold, his model flat, his varnish +not so rich as his master’s, his head original, but without +the grace of Antonio.</p> + +<p>His son, Giovanni Battista, born at Piacenza, 1711-1786, +made violins which are almost more highly +esteemed than his father’s. He imitated Stradivari +perhaps more closely than his father, but Count Cozio +de Salabue, who thought very highly of him and +bought several instruments from him, is careful to +mention that Giovanni Battista Guadagnini prided +himself upon being no mere copyist. In fact, the +Guadagnini in the hands of Mr Willy Hess is quite +equal to the best of Lorenzo’s work. He was always +changing his place of residence, and wandered from +Piacenza to Milan, and at last to Turin, where he died. +His own explanation was that the envy of rivals made<span class="pagenum" id="Page_87">[Pg 87]</span> +each town too hot for him, but his neighbours said +that his frequent migrations were due to his own +hot temper. There were seven Guadagninis who +made violins between 1695 and 1881, but of these +the first two, father and son, alone need be taken +account of.</p> + +<p>It has been the fashion to separate the Italian +makers into schools according to the place at which +they happened to live—the Milanese, the Venetian, the +Neapolitan, the Bolognese, etc.; but it is much more +important to notice the influences under which the +chief makers worked than to identify them with special +towns.</p> + +<p>A Cremonese who works at Venice but carries the +Cremonese traditions with him, is still a Cremonese, and +belongs to the Cremona school.</p> + +<p>Thus, the “mighty Montagnana,” as the novelist +Charles Reade called him, made Cremona violins and +violoncellos at Venice. He worked between 1700-40 +as a pupil of Stradivari, and survived his master only +three years. But he came to him when the Cremona +art was already perfected, and studied the finest models, +assisting in all probability at the very manufacture of +the most wonderful instruments in the world. With +such a training, on his arrival at Venice he easily took +the lead and kept it, and to this day his instruments, +especially his matchless violoncellos—alas! too few in +number—are little if at all inferior to the best of +Antonio.</p> + +<p>Montagnana’s outline is by no means a servile copy,<span class="pagenum" id="Page_88">[Pg 88]</span> +of Stradivari. It is flattened at top and bottom, and +seems to the eye less graceful; but in his selection of +wood, his glorious varnish, the relative thickness of his +slabs, and in the cunning knowledge of those fibre densities +in back and belly which are likely to sound well +together, he is second to none.</p> + +<p>Montagnana no doubt embodies and transplants to +Venice the Cremona secrets. As I noticed in the case +of Bergonzi, Montagnana, owing to the paucity of his +instruments as well as to the splendour of his contemporaries, +Strad and Giuseppe Guarneri, has not until +lately received the honour which is due to him. He +suffers, too, from having often been labelled Guarnerius +or Bergonzi, makers who had the vogue of the day. +These frauds are now being unmasked, and the few +great successors of the Cremona giants, Bergonzi, +Montagnana, Guadagnini, and Balestrieri (very fine in +Guadagnini’s style, flat, big build, powerful tone), and +Storioni, have at last a chance of taking their proper +places and fetching their prices.</p> + +<p>When we come to Lorenzo Storioni (1769-99) we +come to the last maker of importance who can with +any show of plausibility be called even a second or +third rate master of Cremona. Storioni’s model was +Joseph Guarnerius, but he copied him more in his +rough work than in his great qualities. In his varnish +we notice the singular change which came over the +Cremona varnish after about 1760. Up till then all +the Cremona violins have the Cremona varnish; after +that time it simply disappears. Why is it? This<span class="pagenum" id="Page_89">[Pg 89]</span> +interesting problem I shall have to consider in my +chapter on Cremona varnish.</p> + +<p>Storioni’s instruments are not much esteemed in +England as yet, but are thought a good deal more of +in Italy.</p> + +<p>I may here fitly mention the Gagliano family, who +are associated with the Neapolitan school, but really +derive their importance from Cremona. Alessandro +Gagliano, the first of the name, was distinguished for +his very fine red varnish, 1695-1730. A violin remarkable +for its tone is the Gennaro Gagliano that has +been used by Mr Otto Peiniger for solo purposes +during many years.</p> + +<p>Alessandro Gagliano was actually in early life a <i lang="it">bonâ +fide</i> pupil of Stradivari. Finding himself, no doubt, unmercifully +overshadowed by the prestige of the immortal +workshops in the square of S. Domenico at Cremona, +and being a person of native enterprise, Alessandro +Gagliano migrated to the South, carrying with him the +Cremona craft, and founded the so-called Neapolitan +school. His model was, of course, the approved flat +one of the golden age, 1700-37, but his scroll is +small and rather mean, the ∫ ∫ are set low down, and +the work is sometimes lacking in finish. It is in the +varnish of Alessandro Gagliano that we see some connection +with Stradivari, his varnish very often being +fine in colour and of the right texture.</p> + +<p>Attempts have been made to classify the various +towns in which Italian violins were made during the +Cremona period into schools, which is about as profitable<span class="pagenum" id="Page_90">[Pg 90]</span> +an occupation as the attempts to divide the work +of individual makers into distinct periods—one period +runs into another, and one school runs into another.</p> + +<p>Roughly speaking, you find but two influences—the +Cremona, <i lang="la">i.e.</i>, the Nicolo, the great Giuseppe and +greater Antonio influence with its flat form, gentle +curves, and red and yellow varnish; and the German, <i lang="la">i.e.</i>, +the Stainer model, of which I shall presently speak, with +its elongated form, arched belly, deep side-grooves, and +brown-yellow varnish.</p> + +<p>Some fine Venetian and Milanese makers like Montagnana +and Serafino inclined to Stainer, whilst the +Roman and Neapolitan adhered more to the Cremona +type; but Stainer himself learnt at Cremona, and all +the best men like Tecchler (Rome) and Gagliano +(Naples) who went South copied either Stradivari or +Giuseppe Guarnerius. The Milanese school, on account +of the great importance of the capital, naturally +attracted good makers like Grancino, Testore (pupil +of Grancino), and Pietro Giovanni Mantegazza (1687-1720).</p> + +<p>Venice, Florence, and Bologna can also boast of a +few respectable names, but I prefer, for the sake of +completeness, to treat them later more in catalogue +style, for the guidance of the student, and not to mix +them up with the great central figures which have +formed the subject, and I hope absorbed the attention, +of the reader of this section.</p> +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> +<p><span class="pagenum" id="Page_91">[Pg 91]</span></p> + +<p class="center"> +CHAPTER VI</p> +</div> +<br> +<p class="center"> +VIOLINS IN GERMANY</p> + + +<p>Of course, by this time, “every schoolboy,” to use +Macaulay’s famous phrase, knows that most things—including, +alas! violins—can be made in Germany +faster and cheaper than anywhere else; and if we +trust to German writers like Dr Schebek, we might +almost believe that viols, not to say the violin, +originated in Germany.</p> + +<p>I am quite willing to leave the viol origin an open +question. If, on the one hand, Albert Dürer and his +father-in-law both made violins and dated back to +1500, Benvenuto Cellini tells us that long before 1500 +his father made the finest Italian viols at Florence; +and an ingenious writer has now unearthed a print +by Maso Fineguerra, the father of engraving about +1460, in which Thalia is represented playing on a +small violin pochette or kit—which, by the way, has +rather upset the idea that the kit was a reduced +violin, but seems to show, on the contrary, that the +violin followed the kit instead of the kit following +the violin, the kit being in reality a small violin. It +is thus triumphantly argued by Mr Fleming that +even the predecessor of, and every suggestion of, the<span class="pagenum" id="Page_92">[Pg 92]</span> +violin came from Italy; but in his ardour he fails to +notice that although an Italian print shows a woman +playing on a kit, the kit she plays on might all the +same have been “made in Germany.”</p> + +<p>If I see an English picture with a tomahawk and +a boomerang, I do not assume at once that the objects +depicted were necessarily “made in England.”</p> + +<p>But, as far as this book is concerned, such questions +are of quite secondary importance. It is sufficient +to notice that the first instruments possessing the distinctive +features of what we call the viola and the +violin, as distinguished from the viol tribe, came from +Brescia and Cremona; and that the greatest, if not +the earliest, German maker, Jacobus Steiner or Stainer, +is commonly reputed to have studied at Venice, or, as +some say, learnt his art under Nicolo Amati at Cremona.</p> + +<p>As we approach the great figure of Stainer we are in +the presence of a man who stands only second in popular +estimation to the greatest of the Cremona masters. +Indeed, so great a musician and eminent an authority +as Sir John Hawkins writes in 1776: “The violins +of Cremona are <em>exceeded</em> [<em>sic</em>] only by those of Stainer +a German whose instruments are remarkable for a +full and piercing tone.” The popularity of an English +maker, Duke, who followed the German Stainer model, +and whose fiddles were all the rage when good Sir John +wrote, may have a little blinded his eyes to the Cremona +<i lang="fr">chefs-d’œuvre</i>—few of which, if any, he had ever seen. +But it is no small tribute to the power of the German +that for at least a hundred years he retarded the due<span class="pagenum" id="Page_93">[Pg 93]</span> +recognition of the Cremonas and gave a faulty direction +to the violin pattern throughout England, France, and +Germany.</p> + +<p>The arguments in favour of Stainer having visited +Cremona in his early life rest a good deal on romance—the +story of his having been a pupil of the great +Nicolo, whose daughter he is said to have refused to +marry, is unreliable. Whether he went home or stayed +at home and married the village belle whom he appears +first to have compromised, and who bore him seven +daughters and one son after marriage and one daughter +before, it matters very little to us.</p> + +<p>Poems and novels have been written about this +unhappy child of genius, but, as far as I can gather, +the only reliable facts seem to be these, and they have +been quite recently unearthed and sifted by Herr Ruf, +who died at Hall in 1877:—</p> + +<p>Jacob Steiner or Stainer was undoubtedly born at +Absam, a village not far from Hall. The townlet lay +on the high-road between the Tyrol and Italy, and +doubtless nothing that went on in the northern cities of +Lombardy was long in finding its way to Hall, for mules +and pedlars constantly carried all sorts of merchandise—viols, +and violins, and lutes amongst other things—to +and fro. The great argument against Steiner ever +having received early instruction at Cremona seems +to be that he affected the tubby raised bellies and +deep side-grooves of the old German viols; but it must +be remembered that if as a boy he came under Nicolo +Amati’s influence, it was at a time when Nicolo himself<span class="pagenum" id="Page_94">[Pg 94]</span> +approached far more nearly the raised viol form +than he did later on when his own model improved. +The Steiner pattern is therefore consistent with all +these theories:—</p> + +<p>Firstly, that Steiner adopted the raised pattern +which he found at Cremona, and which was then +common throughout the violin-making world; that, +returning early to Absam, he adhered to it, and, +perhaps from motives of national pride, accentuated +it <i lang="it">Germano more</i>.</p> + +<p>Secondly, that he visited Cremona later, when his +own model was already formed, and was too proud +to alter it.</p> + +<p>Thirdly, that German he was, and German he remained, +and never went to Cremona at all.</p> + +<hr class="tb"> + +<p>All these questions, upon which much ink and paper +have been spent, remain more interesting to the antiquarian +than to the collector. Still, an indescribable +interest and a deep human pathos seem to cling about +the meagre facts of this remarkable man’s life.</p> + +<p>Stainer’s popularity was so enormous that ten times +the number of violins he could ever have made have +been attributed to him, and his name has been forged +quite as often as that of the great Stradivari.</p> + +<p>Stainer married in 1645, and was appointed one of +the Archducal servants, 1669; he advanced rapidly in +favour, became violin-maker to the Emperor’s court, +and was turning out instruments as fast as he could +make them, forming such admirable pupils as Klotz<span class="pagenum" id="Page_95">[Pg 95]</span> +and Albani, when he fell a victim to the <i lang="la">odium +theologicum</i>.</p> + +<p>Heretical books were found in his possession, or +heretical opinions were expressed by him, or both. He +was, in fact, a Lutheran, and a Lutheran in Absam was +far too near to the preserves of Mother Church, and +very soon, like a hawk on a pheasant run, he was +shot down. Stainer was also miserably in debt, and +perhaps somewhat litigious, as people of genius and +independence of character are wont to be.</p> + +<p>In 1677, having got out of prison, Jacobus petitioned +the Emperor Leopold, whose protégé and employé he +had been, and who was a great musical amateur, for +money. Leopold lost his opportunity; unlike Ludwig +of Bavaria, who won for himself an easy immortality +by supplying Wagner with funds, Leopold turned a +deaf ear to the immortal violin-maker.</p> + +<p>Stainer seems to have dragged on a wretched existence +for six years longer, overburdened with care and debt. +The attentions of his wife and eight daughters did not +prevent him from going mad with worry and want; +nay, a helpless and incompetent family may even have +contributed to this so unhappy close of a splendid but +blighted career.</p> + +<p>They show even now at Absam the bench to which +the wretched man is said to have been bound when his +paroxysms came on. He died in 1683, not only insane +but insolvent. His wife died in great poverty six years +afterwards, in 1689.</p> + +<p>There seems no room in this sad life-story for his<span class="pagenum" id="Page_96">[Pg 96]</span> +sentimental retreat into a monastery on account of his +inconsolable grief for the death (?) of his wife. Had +she been such an inestimable blessing, we might have +expected her to have kept her gifted husband alive, +managed his household more thriftily, rescued him from +his debts, moved the hearts of his great patrons, or at +least saved him from going mad.</p> + +<p>But, on the other hand, eight daughters were doubtless +a trial to a couple who seemed always hard up; and +the one son, born in 1657 and dying in infancy, as we +learn from a tombstone in the Pilgrims’ Church at +Absam, deprived the great artificer of a coadjutor who +might have been interested in building up the firm, +and, perhaps, brought into it those business faculties +without which the most brilliant abilities in every department +of life so often make shipwreck.</p> + +<p>A certain Marcus Stainer, whose reputed date is +about 1665-69, and who called himself citizen and +violin-maker, it is difficult to connect with the illustrious +Jacob, although he has been called his brother, +and some say he was a monk and actually assisted Jacob +Stainer in the workshop.</p> + +<p>The great violinist Tartini is said to have possessed +two of this man’s instruments, called Peter and Paul.</p> + +<p>Veracini, another eminent soloist, is said to have lost +both of them in a shipwreck.</p> + +<p>Herr von Reimer possesses a violin with label “Markus +Steiner Burger und Geigenmacher, anno 1659” (not a +very clerical label, by the way), and that is all that +can be ascertained about this other Stainer; for of<span class="pagenum" id="Page_97">[Pg 97]</span> +an Andreas Stainer, 1660, nothing but the name is +known.</p> + +<p>So everything tends to keep the ill-fated genius Jacob +apart. Alone he remains as the one important rival of +the Cremonese school; alone he stands at the head of +all the Germans. Genuine Stainer instruments are +rare; Stainer labels, copies, and forgeries are innumerable, +and one of the greatest curses of the fiddle +market.</p> + +<p>The general look of a Stainer is so distinct from that +of any maker except such as copied him, that it must +arrest the attention of even a casual observer.</p> + +<p>The Stainer belly is much higher than the back, the +rise is kept up through half its length; the varnish is +yellow (or as in the Elector Stainers), with a sort of +pale-rose flush in it.</p> + +<p>The early pattern, deep Amati side-grooves, the long-shaped, +beautifully thrown end of the scroll, sometimes +a lion’s head carved with the art of a Stradivari, the +narrow purfling lying close to the sides of the strong, +roundly moulded edges, the circular-topped sound-holes +rather shorter than the Cremonese, peg-box often dark +brown, contrasting with the palish-yellow belly—such +are the leading characteristics of the great Jacob.</p> + +<p>His earlier specimens bear varnish something akin to +the Amatis; they are also of the smaller pattern. A +good example of them is one in the possession of Mr +Russell of Bedale, Yorkshire, dated 1645.</p> + +<p>Jacob’s finest type may be seen in the famous Elector +Stainer; of these he is said to have made twelve, one<span class="pagenum" id="Page_98">[Pg 98]</span> +for each of the Electors. The popular legend refers +them to his Benedictine monastery, but there is no +shadow of proof that he ever was there at all; perhaps, +however, if one Markus Stainer who is reputed to have +made Peter and Paul was a monk, <em>he</em> may have been a +Benedictine monk, and as the obscure Guarneri who +did get locked up seems to be responsible by transference +for the great Joseph del Gesù’s legendary +incarceration, so Monk Markus may do duty for +J. Stainer’s reputed sojourn and residence in a Benedictine +monastery. It matters very little when the +Elector Stainers were made; most connoisseurs are +agreed that the two quite authentic “survivals of the +fittest” are miracles of workmanship, beauty, and the +perfection of Stainer tone.</p> + +<p>The Stainer tone! What is there about that tone, +which for 150 years so fascinated the musical world +as to dull the perceptions of so experienced a professor +as Sir John Hawkins to the more exquisite timbre of +the finest Cremonas? No one but myself is responsible +for the following conjecture.</p> + +<p>Perhaps there is less tonal difference between the +early Amati and the later Strad than between the +early Amati and the full-blown Stainer; and it may +have been the sharp, pungent contrast—the type of +tone that was <em>quite new</em>, as it were an original +creation—which at once arrested and held the ear of +that epoch. For, after all, musicians in the seventeenth +century were only beginning to be cultivated in the +delicate appreciation of tone <em>nuances</em>. The proof of<span class="pagenum" id="Page_99">[Pg 99]</span> +this would not be far to seek. It is quite notorious, +though to us amazing, that the differences between +the Amati, the Strad, the Guarnerius, and the Bergonzi +or Ruggerius, should not have been more clearly +apprehended. When, for instance, a man—an orchestral +leader, too—had bought a Ruggerius and paid for +a Joseph, we do not find that he was dissatisfied with +it until he discovered that the <em>label</em> was false. The +superb qualities of the great Joseph have been appreciated +only since the Strad craze; but the world-wide +cult of Strad dates from Tarisio, who began his work +of violin exploration and discovery in 1827, dying only +in 1854. But any tyro would be arrested by the clear, +sharp, biting tone of Stainer. A violinist in the +orchestra could make his Stainer cut through all the +first fiddles, and once the taste for that sort of tone +was excited, it would be to the ear what curry, or +vinegar, or quinine bitter, or absinthe is to the palate. +The Stainer tone is a sort of drastic, stinging stimulant +to the ear, almost an intoxication; and the ear that has +been once caught by it craves for it, and misses it even +in the loud richness of Joseph, the exquisite velvety +timbre of Amati, or the superb ringing brightness of +the great Antonio.</p> + +<p>Thus, in his own original way, Stainer met the crying +want of his age for loud and piercing tone. He +was the very antipodes of the tubby, muffled sound of +the old viols. With a bound he reached the opposite +pole. The coarse ears of the multitude were at once +tickled and “grisé,” as the French say, by his wiry<span class="pagenum" id="Page_100">[Pg 100]</span> +intensity; and soloists soon found that it was an +immense help to wield a novel and stinging timbre +which, without any special gift of theirs, awakened +attention like the roll of a drum, or the blast of a +cornet, or the tinkle of a triangle.</p> + +<p>These considerations alone, in my opinion, account +for the popularity of Stainer in all ages; the bulk of +hearers belong to the musically untrained, who like +pungency, and desire above all to have their ears +tickled.</p> + +<p>Just in proportion as music developed and the +musical ear got trained to higher and higher refinement, +so that specialities of tone became a cult for +the ear, as specialities of colour for the eye, just in +that measure did the great and subtle qualities of the +Cremona school emerge, whilst the rage for Stainer, +Klotz, and Duke declined.</p> + +<p>I have no wish to disparage these last-named fine +artificers. The increasing rarity of their instruments, +and the really splendid qualities which we grant ungrudgingly +to the best of them, must always make +them much prized, and I fully expect that in a few +years there will be a revival of the Stainer craze, and +that his violins may then touch Cremona prices. I +shall be very glad if they do; it will mean that at last +we shall get something like a definite sifting of this +great master’s best specimens, and that in this shaking +in auction rooms, and in the cabinets of collectors, the +forged parasites and impudent copies which have for +years sailed under false colours—labels (libels, I mean)—will<span class="pagenum" id="Page_101">[Pg 101]</span> +fall off into the limbo of violin refuse and other +things “made in Germany.”</p> + +<p>The best pupils and followers of Stainer were Klotz +and Albani; but as it became the fashion to dub every +one who made respectable violins in Germany about +that time, and showed traces of the Stainer model, +“pupils” of the great man, modern writers have grown +properly cautious about dogmatising.</p> + +<p>If all Stainer’s reputed pupils had really worked with +him, they ought certainly to have married his eight +daughters and relieved him of some of his heavy family +responsibilities.</p> + +<p>Sebastian Klotz or Kloz (1675) and his son Mathias +(1696-1709) made excellent violins, and some prefer +the son’s to the father’s. There were, besides, four +other Klotz, relationship uncertain. Sebastian of Mittenwald +visited Florence and Cremona; but although +when he returned to his native town he announced his +intention of making a second Cremona of Mittenwald, +he and his family adhered mainly to the Stainer +model, and reproduced very successfully the Stainer +tone. Vidal says that his sons inundated Germany +with false Stainers. Of the great violin manufactory +which, on the suppression of the Mittenwald Fair in +the seventeenth century, is said to have revived the +commercial prosperity of the town, no trace now remains; +but it is certain that, whilst the Klotz family +lived and worked, a pretty steady stream of pseudo- +(or <i lang="it">scuola</i>) Stainers poured forth from Mittenwald till +about the year 1750.</p> + +<p><span class="pagenum" id="Page_102">[Pg 102]</span></p> + +<p>The Albani family, like the Tecchler, stand midway +between the Cremona and the Absam school, but +Albani <i lang="fr">père</i> (1621-73) was certainly Italian, though +he was born and lived at Botzen, in the Italian +Tyrol, where he made German fiddles in the Italian +style and for the Italian market, although his son +Joseph was also bitten with the Cremona model. +Albani’s violins pass for Italian; they are varnished +red, and rival the Amati tone, and the Joseph +Albanis are more highly esteemed than the violins +of Albani <i lang="fr">père</i>.</p> + +<p>It is further significant of Albani’s popularity in +Italy, that the most accomplished maestro and composer +of the early part of the eighteenth century, Corelli, +played on an Albani. This appears certain from an +examination made by Mr Arthur Hill of the will of the +late William Corbet, who had a large collection of rare +fiddles, and disposed of them in his will, where mention +is made of an Albani fiddle, which he left with the +memorandum that it had <em>belonged to Corelli</em>. This +is a very interesting example of a carefully excavated +fact, and does Mr Arthur Hill great credit.</p> + +<p>Tecchler, also called a pupil of Stainer, is perhaps +most esteemed for his violoncellos, the best of which +run the Strad ’cellos very hard. A very fine Tecchler +’cello is in the possession of Mr E. W. Hennell (1898), +and there are several others in this country. Tecchler +seems to have made few, if any, violins, which is strange, +as his master made few, if any, violoncellos; he worked +in Rome between 1695 and 1735. His instruments<span class="pagenum" id="Page_103">[Pg 103]</span> +are sometimes rather cumbrous; his varnish is yellow, +like Stainer’s.</p> + +<p>The subsequent history of “violins made in Germany” +is, to say the least, very mixed; nothing so +good as Stainer was done there before him, and nothing +equal to him has been done there since.</p> + +<p>The golden age of German violin-making begins and +ends with Jacobus Stainer.</p> +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> +<p><span class="pagenum" id="Page_104">[Pg 104]</span></p> + +<p class="center"> +CHAPTER VII</p> +</div> +<br> +<p class="center"> +VIOLINS IN FRANCE</p> + + +<p>Italy and Germany have to look back to their golden +age, but it seems as if France and England had to look +forward.</p> + +<p>France and England have never yet gone beyond +a doubtful silver age, but there is good reason to +think that the manipulation and alchemy of time, +whilst thinning out by wear and tear and loss the +older gems, will not only transform the Piques and +Lupôts, and perhaps the Vuillaumes and Chanots, but +also the Banks, Forsters, and Fendts, and probably +the Dukes and Hills, into golden quality, with very +advanced prices; and so, instead of being, like Artemus +Ward’s future, <em>behind</em> them, they may still be found +to have their future <em>before</em> them.</p> + +<p>The French work contemporaneous with the Cremona +period is not nearly so interesting, nor do the +makers appear to have been nearly so capable as the +men who followed them towards the close of the +seventeen hundreds. This is no doubt accounted for +by the streams of violins pouring out of the Italian +and German workshops, the superior reputation of +Cremona, which drew at once the patronage of the<span class="pagenum" id="Page_105">[Pg 105]</span> +Spanish and French Courts, and perhaps the small demand +for stringed instruments in France compared with +the huge demand in Italy and throughout Germany.</p> + +<p>So there was a poor market as yet for French work.</p> + +<p>In Italy, in the luxurious little Duchies and Principalities, +as well as in the churches, and in Germany in +the small Electorates, each of which supported its band +and gave an indirect impetus to the churches, Reformed +and Roman Catholic, violin-making flourished, and so +it came to pass that Italy and Germany made for all +the world.</p> + +<p>The Cremona period in France can boast of but +two considerable names, <a id="tn_105">Jacques</a> Boquay (1705-30) and +Pieray (1700-25). Boquay worked on the early Cremonese +model, which had already been left behind by +the modified forms of Stradivari (1700 great period). +His violins have not yet reached a high selling figure, +but may possibly rise; they are by no means scarce; +his varnish is reddish-brown, transparent, warm and +soft. He reverted to the Jerome Amati type, arching +even a little more than Jerome.</p> + +<p>The quality of his tone is good, but it lacks power, +which in these advanced days tells against him except +for cabinet playing.</p> + +<p>Claude Pieray (1700-25) worked in Paris, and followed +the later Amati contour, but he was far enough +removed from the Cremonese influence to follow a line +of his own. Whilst varying, some think capriciously, +the thickness of his wood, and not always securing +the best quality of wood, he varnished pale red, and<span class="pagenum" id="Page_106">[Pg 106]</span> +turned out a small and large pattern; but he evidently +inclined to the larger pattern of the late Amati +Strad.</p> + +<p>A violin of Pieray’s was advertised in the sale of +Tom Britton, the musical coal-heaver, as “a very +beautiful violin, and <em>as good as a Cremona</em>,” which +shows that even at that date the Stainer influence, +then so strong in England, had not dimmed the fame +of Cremona. However, it would of course have been +absurd to compare him to Stainer, the affinity between +Pieray and Amati being too obvious.</p> + +<p>But the really great silver-gilt if not golden age of +French violin-making dawned with Lupôt (1736-58), +was extended by Pique (1788-1822), Vuillaume (1798-1875), +Chanot (1801), Gand (1802), and Aldric (1792-1840), +famous for his varnish; and Fent,<a id="FNanchor_2" href="#Footnote_2" class="fnanchor">[2]</a> an admirable +copyist, whose violins often sell as Lupôt’s copies of +Strad.</p> + +<p>The labours of these great French disciples of +Cremona, copyists and occasional forgers as they were, +are sufficient to decide for ever the superiority of the +Strad model over all others. Their lives were chiefly +occupied in reproducing the unique Antonio minutely +without attempting the least modification of the ultimate +Cremona form, which he had defined.</p> + +<p>The firm of Lupôt, immortalised by Nicolas Lupôt +(1758-1824), dates back to 1696 or somewhat earlier. +The father and grandfather of Nicolas Lupôt resided +<span class="pagenum" id="Page_107">[Pg 107]</span>at different times at Plombiers, Luneville, and Orleans, +but Nicolas was born at Stuttgart in 1758. He +returned to Orleans in 1770.</p> + +<figure class="figcenter illowp100" id="i_106a" style="max-width: 62.5em;"> + <img class="w100" src="images/i_106a.jpg" alt="Portrait of F. Tourte, N. Lupot"> + <figcaption class="caption"><p class="center">F. TOURTE - N. LUPOT</p></figcaption> +</figure> + +<p>Nicolas Lupôt was a man of great discernment, and +not carried away with the fashion of the times. Although +during the first twenty years of his life he +must have seen and heard the German model of Stainer +extolled, neither his own work nor yet his father’s +show any leaning towards it. His eye was enamoured +with the Stradivari grand pattern, and his best violins +are such loving and faithful copies of the great Antonio +that many amateurs and some professional +judges have been deceived by them. But Lupôt +never got rid of the glassy, chippy French varnish, +and although his warm orange tints are generous +and the varnish has been laid on with a lavish hand, +the rubbing bare by time of a Lupôt is very different +from that fading away upon the fibres of a Strad, +where always a subtler film protecting the wood +seems to linger, a sort of mist of varnish to the end.</p> + +<p>But Nicolas Lupôt was a great workman, and, as +Hamlet modestly puts it, “indifferently honest”—that +is, honest as violin copyists go. He did not imitate, +he <em>copied</em>, and varnished throughout; he never aged +his copies prematurely, or tried to take in buyers; +he reverenced his great Cremona model too much to +palm off his own work as those of the master. Of +course his violins have rubbed since and aged since, +but they have aged and rubbed honestly, and are +every year increasing in value, and distinctly mellowing<span class="pagenum" id="Page_108">[Pg 108]</span> +in tone and sensitive quality. The moment Nicolas +Lupôt arrived in Paris, early in this century, his talents +were recognised; orders flowed in, and he remained +and remains without a rival in the French school.</p> + +<p>He was appointed maker to the Paris Conservatoire, +which involved the manufacture of the annual prize +violin to be presented to the gold medallist of the +year, and to this academic privilege we are doubtless +indebted for some of his finest efforts. A violin +which would annually at the time be associated with +one of the chief musical events of the year, and come +under the criticism of all musical Paris, would certainly +call forth the mettle of one who admittedly +“took the cake,” but was not without formidable +rivals.</p> + +<p>One of these rivals was Pique. He was in the habit, +it is said, of buying Lupôt’s fiddles unvarnished, +varnishing them, and labelling them with his own +name. He had better have left the varnishing alone +and contented himself with a fraudulent label. It +is surprising that he should have stooped to such a +device. Pique is quite a considerable person, second +only to Lupôt as a maker. He must have been +influenced by commercial considerations, but his dishonesty +is a great tribute to the superior popularity +and merit of Lupôt. Still Pique was so clever that +he could have afforded to be honest.</p> + +<hr class="tb"> + +<p>François Gand, who entered as Lupôt’s pupil in 1802, +was much beloved by his master. He became his best<span class="pagenum" id="Page_109">[Pg 109]</span> +pupil, married his daughter, and succeeded to his business +in the Rue Croix des Petits Champs in 1824.</p> + +<p>Time has invented a new industry—the art of repairing—which +François Gand raised to a veritable fine art +(Mennégand, Kolliker, Rambeaux and W. Ebsworth Hill +have since rivalled him). Pique would join and split +mutilated grain in such a way that, without the aid of +a microscope, the patch or closed fissure cannot be +spotted. He would spend days over mending a crack; +it became with him a sort of passion of ingenuity.</p> + +<p>It was almost worth breaking a fiddle to have it +mended by Gand, and his exquisite skill and profound +knowledge as a repairer no doubt gave rise to the +common but risky notion that an old violin was improved +by being mended, as some surgeons pretend +that a skilful operation will not only prolong life, but +positively improve the constitution. The firm of Gand +and Bernadel is still of high standing in Paris. The +violins of François are useful and solidly built, but +lack altogether the Italian grace and finish of his +master, Lupôt.</p> + +<p>Pique (1788-1822) is by some held to have run Lupôt +very hard as a copyist of Stradivari. Pique avoids at +once the error of the vulgar copyist, who cannot refrain +from emphasising the peculiarities of his model, and +the sin of the brazen forger, who bakes and rubs, treats +with acids, and simulates the cracks and the wear and +tear of time. But Pique had some conscience. He +may have passed himself off as Lupôt, but at least he +never posed as Stradivari.</p> + +<p><span class="pagenum" id="Page_110">[Pg 110]</span></p> + +<p>Those conversant with Pique’s instruments observe a +very high and conscientious finish throughout. Spohr, +the violinist and composer, played for many years on a +Lupôt, and was never tired of extolling both Lupôt +and Pique. Pique died in 1822, two years before +Lupôt, and his violins improve every year, and will +by-and-by fetch prices second only to those of Lupôt, +which are already up to £200 (1897).</p> + + +<p><span class="smcap">A Vignette of J. B. Vuillaume.</span></p> + +<p>If I were to seek for an appropriate pendant to the +figure of William Ebsworth Hill in London, I could +not find a better one than Jean Baptiste Vuillaume of +Paris. Yet the two men were very different;—the +careful, neat, systematic enthusiast, with a shrewd eye +to business, and the dreamy worker always apparently +in the midst of a chaos of material, out of which he +alone could select at a moment’s notice what he required; +the ready purveyor of whatever sort of article +happened to be wanted, and the careless distributor of +his wares, who forgot what he owed his customers, and +kept them waiting for months; the clever copyist, the +reverent repairer, the ingenious brain for ever evolving +new sorts of bows, fiddle shapes, screws; and the +idolater of the old forms, who had so firmly grasped +the truth that violins and all that belonged to them +had culminated at Cremona before the middle of the +eighteenth century, that he never aspired to invent +anything new or alter anything old;—the Parisian, who +<span class="pagenum" id="Page_111">[Pg 111]</span>made many fiddles, and died rich; the Londoner, who +made few fiddles, but repaired innumerable antiques, +and died with but a moderate competence. The force +of contrast could go no further; nay, you can look at +the two men’s faces, and see the secret of their characters +writ plain enough.</p> + +<figure class="figcenter illowp100" id="i_110a" style="max-width: 65.25em;"> + <img class="w100" src="images/i_110a.jpg" alt="Portrait of J. B. Vuillaume, +William Ebsworth Hill"> + <figcaption class="caption"><p class="center">J. B. VUILLAUME - WILLIAM EBSWORTH HILL</p></figcaption> +</figure> + + +<p>I can remember old Hill’s dreamy gaze, peering at +me with screwed-up eyes through his spectacles. You +were nothing in particular to him, duke or pauper; it +was your fiddle that gave you the importance or the +reverse in his eyes. But look at Jean Baptiste Vuillaume’s +portrait—it lies before me as I write: the +jaunty embroidered and tasselled velvet skull-cap, the +well-arranged black satin tie, the well-cut coat, the +grave sharp look and keen eye, not dreaming at all, +but taking everything in at a glance; the mouth a +little aslant, as we often see it in men of speculative +and ingenious minds; the firm fine nose, and the strong +quiet face, but a face that betrays a mind ever alert, +capable of dominating its owner’s gifts, his customers, +and the market generally, whilst the man was genuinely +devoted to the art and craft which made him great, +and rich, and famous. Yes, the two great connoisseurs +might well hang side by side in twin frames, for they +are two types, united by a like enthusiasm and speciality +of craft and knowledge, but differently interesting, +variously unique each in his own way.</p> + +<p>Both were hereditary violin-makers, and the tendency—I +had almost said the cult—was born and bred in +the blood.</p> + +<p><span class="pagenum" id="Page_112">[Pg 112]</span></p> + +<p>Vuillaume was early saturated, in his father’s workshop +at Mirecourt, with all the secrets and arts of the +trade, long before he served his apprenticeship. But +Paris drew the young fellow, then only nineteen, with +an irresistible magnetism.</p> + +<p>Victor Hugo, that typical Parisian of Parisians, has +somewhere described the Frenchman’s inborn love of +his capital, the centre to him of life, art, pleasure, +movement, industry, and invention. So to Paris must +your Jean Baptiste go. But to whom?—to whom +but Chanot (Francis), incomparable worker, copyist, +forger, suitable adept, indeed, for such a bright novice.</p> + +<p>With Chanot, Vuillaume remained till 1821, when +he went over to Lété, the organ-builder, who also +dabbled in fiddles, and was glad to have at his +beck and call as a foreman such a specialist, with all +the experience of Mirecourt and the craft of Chanot +at his back; in fact, he lost no time in taking the +young man into partnership, and the partner throve so +well that he married in 1828, being then just thirty +years old.</p> + +<p>Things ran smoothly with Vuillaume; his wife did +not drink, or abuse him, or waste his money. His home +was happy, and, in the sunshine of domestic peace, his +talents expanded in the direction of that growing +market which was created by the taste for old fiddles, +excited by Tarisio, and supplied by the not always +scrupulous skill of Chanot.</p> + +<p>But Vuillaume went one better than Chanot. Chanot’s +trick was to produce such deceptive copies or<span class="pagenum" id="Page_113">[Pg 113]</span> +patch with counterfeit backs and bellies of his own—or +to forge downright a whole antique, to be foisted +upon some unwary but ill-informed enthusiast. But +Vuillaume, to his honour be it said, soon discerned +that the world at large could not be won by fraud, +but that men were the slaves of imagination and sentiment. +This timely and philosophic discovery made +him famous and wealthy, almost at a bound. He +loved the old Italian fiddles; he had the best opportunities +of seeing them; his admirable technique +enabled him to copy them accurately—to counterfeit +the wear and tear, even the cracks and worm-holes, the +inlaying, the rubbed varnish, the old wood; and for +about five pounds, or even less, he proposed to provide +people with new fiddles, which looked like old ones worth +fifty or a hundred pounds.</p> + +<p>The device succeeded beyond the dreams of avarice. +Orders poured in faster than they could be executed. +Just look at the old man’s face. Can you not see the +shrewdness, betrayed by that slight pucker in the lip, +which discovered and worked this now familiar tendency +of human nature to possess what <em>seems</em>, if you +can’t afford to buy what <em>is</em> really good? It is the secret +of cheap art, shoddy satsuma, coarse blue china, common +silks, oleographs, and sham Palais Royal jewellery +galore—every bazaar reeks with it; whilst the biggest +warehouses are not above selling a made-up wine that +deceives the palate, a walking-stick not ebony, only +paint or stain, and furniture not really inlaid, but +ditto ditto. So Vuillaume began early those amazing<span class="pagenum" id="Page_114">[Pg 114]</span> +copies, chiefly of Stradiuarius, which even now deceive +the innocent, and for a moment may even puzzle a +connoisseur. Well, it was no doubt shoddy, but shoddy +of the best sort; shoddy raised to a fine art, like those +roses so subtly made out of silk or cambric that we +might easily pop them into water to prevent them from +fading.</p> + +<p>This new-found copying industry was a delight as +well as a profit to the clever French craftsman.</p> + +<p>He loved a Cremona; he copied it as men copy the +old masters again and again, till they know every touch +of the immortal workman, and revel in its reproduction.</p> + +<p>“I have completed,” remarked Vuillaume in his declining +years, “three thousand instruments, all sold, all +paid for, and the money spent, and it affords me great +satisfaction.”</p> + +<p>Like Ebsworth Hill, Jean Baptiste loved to do it all +himself. Every instrument was varnished carefully by +his own hands, and many are made throughout by him.</p> + +<p>But what is the actual merit of Vuillaume’s violins? +Fine work, yes; admirable counterfeits, yes; but the +great expectations raised by the appearances are unfortunately +not always answered by the tone. His best +are good, and will run into forty pounds, perhaps more; +but his worst are dear at five pounds. Nor can Vuillaume +pretend to rival in power his great French predecessors, +Pique or Lupôt, who copied, but without +registering the defects of age, accident, and decay, +which are so cleverly reproduced in Vuillaume’s typical +specimens.</p> + +<p><span class="pagenum" id="Page_115">[Pg 115]</span></p> + +<p>It is an exaggeration to say that Vuillaume baked +his fiddles; but he treated the wood chemically in +various ways, besides reproducing cracks and even +worm-holes; and this artificial age put upon his planks +not only fails to carry the mellowness and timbre of +wood grown naturally old, but seems actually to impair +instead of improving its quality, and this is +but too apparent as the instruments recede in time +farther and farther from the hand of the too cunning +artificer.</p> + +<p>There are, however, a few fine quartets of instruments, +one of which, made for the Comte de Chimay, +was lately exposed to public view in Messrs Hill’s windows +in Bond Street. These are varnished equally +throughout, and no attempt at aging the wood or +tampering with the surface is visible. The work +throughout is charming and finished, as in the best +Cremonese models, and the only wonder is, that as +everything about them is so good, the tone is not +better; still, everything is relative. But Vuillaume +claims to be judged by a high standard, and so we +judge him.</p> + +<p>Vuillaume’s ingenious brain was ever devising improvements +and novelties, but few of them have turned +out successes.</p> + +<p>He made a violin tenor, but it never came into +use, it being too cumbrous. He made a steel bow; +but, although hollow, it was found to be too heavy. +He made a sourdine tailpiece which acted on the +bridge, but it has never superseded the usual simple<span class="pagenum" id="Page_116">[Pg 116]</span> +dummy contrivance. He made a self-hairing bow, +which is still sold by Mr Withers; but most violinists +prefer to pay a small sum and get their bows haired, +just as most men prefer to get themselves shaved—it +is less trouble, and does not cost much.</p> + +<p>Apart from his undoubted finish as a workman, and +skill as a copyist, Jean Baptiste Vuillaume’s title to +fame will rest largely on his connection with Tarisio. +As we have seen, he not only dealt with him living, +but bought all the violins found in the bedroom along +with the peasant carpenter’s lifeless body.</p> + +<p>His possession of the Messie, which he kept in a +glass case, and never allowed any one to touch, was a +source of great anxiety to him during the Paris Commune +in 1870.</p> + +<p>He writes to Madame Alard, his daughter, who +married the celebrated violinist of that name: “In my +last I spoke to you of Alard’s violin and my Messie, +and of certain valuables I have here. I do not know +what to do with them, for if one survives, one will be +able to recover the valuables when the hubbub is over; +and some <i lang="fr">sous</i> can be buried, but violins cannot be +buried.” And again: “Where ought I to place all +these in case of pillage?”</p> + +<p>He referred chiefly to his violins, and old medals +received in the Paris Exhibition from 1827 to 1855, +and the Great Exhibition medal in London, 1851.</p> + +<p>Later on we are relieved by reading: “I have found +quite a safe hiding-place protected from fire, <i lang="fr">et puis à +la grace de Dieu</i>!”</p> + +<p><span class="pagenum" id="Page_117">[Pg 117]</span></p> + +<p>All went well with the treasures, and in 1875, when he +died, the Messie fell to the joint share of his only two +children, Jeanne and Claire. Jeanne (Madame Alard) +bought out Claire’s interest for five hundred pounds, +the violin at that time being valued at one thousand. +In 1890 Messrs Hill bought it for Mr R. Crawford for +the unprecedented figure of two thousand pounds, the +largest sum ever given by a dealer for a single instrument. +Mr Charles Reade valued it at six hundred, +but that was several years ago, when a first-class Strad +could be obtained for about three hundred and twenty +pounds. Prices have run up since then, and (like +“Charley’s Aunt”<a id="FNanchor_3" href="#Footnote_3" class="fnanchor">[3]</a> as we write) are “still running”!</p> + +<p>Down to the end of his life Vuillaume was a great +dealer, and he hurried over to London when quite an +old man to attend the sale of Mr Gillot’s fiddles. He +mistook the date, and arrived a day after the sale. He +came into Mr Hill’s shop in Wardour Street, and gave +vent to his disappointment. Mr Hill, whom he always +visited when in London, had bought several instruments, +and had a second deal with Vuillaume then and +there, much to the Frenchman’s gratification. It is +interesting to catch this glimpse of the two greatest +dealers and artificers of the age face to face for +one moment, and in such friendly and characteristic +relations.</p> +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> +<p><span class="pagenum" id="Page_118">[Pg 118]</span></p> + +<p class="center"> +CHAPTER VIII</p> +</div> +<br> +<p class="center"> +VIOLINS IN ENGLAND</p> + + +<p>It is an amusing fact that hardly a Continental writer +on musical instruments, M. Vidal excepted, has thought +it worth while to give any reasoned account of the +English viol and violin-makers who have occupied such +a distinguished place in the history of the art.</p> + +<p>I heard the other day of an American school atlas +which left out all the islands in the world as unimportant +details calculated to confuse the minds of +young students. England, of course, being a small +island, was one of the first to disappear.</p> + +<p>The names of Barak Norman, Banks, Forster, and +Duke may be somewhat confusing, but we must risk +the mention of them just for the sake of an approximate +completeness.</p> + +<p>The fact is, that in Queen Elizabeth’s time the English +were really almost a musical people. Whether +the viols came across from the Low Countries or Germany +or from Italy has never seemed to me a matter +of much importance. Undoubtedly the viol and its +descendants is cloisteral, and that means Italian, since +all the arts along with Christianity spread from the +great Italian centres—Rome, Florence, Milan, Brescia;<span class="pagenum" id="Page_119">[Pg 119]</span> +and in Elizabeth’s time Italian influence is as marked +in English music as it is in the Shakspearian drama, or +in these gorgeous brocades, silks, and tapestries that +still dazzle us behind glass at the South Kensington +Museum, or in such Elizabethan gems of Renaissance +architecture as Knole and Hatfield, which seem to +touch as with the glory of a foreign world the palatial +seats “of our old nobility.”</p> + +<p>Modern music rises in Elizabeth’s reign with Monte +Verde and the discovery of the octave and the perfect +cadence.</p> + +<p>Along with it rise the Italian singing-schools of +Naples; whilst the viols, improved to meet the new +demands, culminate in the Brescian, Maggini and the +Cremonese Amati patterns (the very word Madrigala, +the hymn of the Mother of God, is Italian and cloisteral), +and the viols which accompanied such part-songs +were doubtless of Italian origin.</p> + +<p>But, for all that, the viols were genuinely naturalised +and acclimatised in England, and for a short time it +seemed as if England were even going to lead the art +of viol manufacture.</p> + +<p>The father of Galileo the astronomer declared in +1583 that the best lutes were at that time <em>made in +England</em>, and we know that lute-making and viol-making +so invariably went together that in France +and Italy the violin-maker is to this day called a +“lutier”; and J. J. Rousseau remarks, a little loosely +perhaps: “The viol passed from the Italians to the +English, who <em>first</em> began to compose and play harmonised<span class="pagenum" id="Page_120">[Pg 120]</span> +pieces for it, and who imparted the knowledge +to other kingdoms.”</p> + +<p>Mace, an old writer and quite a musical expert +(1676), mentions the viols of Ross (1598) and Smith +(1633) as “old instruments” in his day. But the movement +did not go on, and I cannot for a moment doubt +that what checked the rise of music and the manufacture +of musical instruments in this country was that +same Puritan craze which snubbed art, smashed the +stained glass, and mutilated our cathedrals throughout +the land.</p> + +<p>Viols had by this time crept out of the cloister and +joined hands with the frivolous Rebek, used at fairs +and pothouses. At all events, in Cromwell’s time and +the “Barebones-praise-God period,” everything that +savoured of festivity was tabooed, and the fury against +art seemed part and parcel of all sincere religion, +according to the masses at least.</p> + +<p>To Cromwell’s honour be it set down that he was +personally no such extremist, and that he, moreover, +saved for us Raffael’s cartoons; but still music in any +of its secular forms was mightily discouraged by the +Puritans, whilst in its higher religious form it was +associated with Prelacy and Papacy, and we have to +wait for that reaction in favour of the world, the flesh, +and the devil, which marked the Restoration, and which +also made provision for the more innocent as well as +the more perilous delights of music in the home, the +concert room, the theatre, and the sanctuary.</p> + +<p>In Charles I.’s band (1625) there were “eleven<span class="pagenum" id="Page_121">[Pg 121]</span> +violins and four viols,” so at last the violin was +creeping up; but not until Charles II.’s restoration +did the full-fledged violin come in with a rush of +“four-and-twenty” fiddlers, over whom presided no +less a person than the immortal Thomas Purcell, who, +in a brief span of life, achieved his almost Mozartian +fame, and died at the early age of twenty-seven, just +ten years younger than the incomparable Wolfgang +Amadeus.</p> + +<p>The King had no doubt got his notion of fiddle +bands from Louis XIII.’s “petits violons du roi”; and +from the French Court, our “merrie monarch” borrowed +a good many other ideas of a less respectable +and harmless character.</p> + +<p>The King was so seriously addicted to music that +he could hardly hear a sermon and never eat his dinner +without the solatium of his four-and-twenty fiddlers.</p> + +<p>“They played before him at his meals,” writes +Anthony Wood in the diary of his life, “as being more +airy and brisk than the viols”; and the grave Evelyn +much resents the invasion of the upstart “petit violon” +and its profane intrusion. He writes in 1662: “One +of his Majesty’s chaplains preached, after which, instead +of anthem or solemn wind music accompanying the +organ, was introduced a concert of twenty-four violins +between every pause, in the French fantastical light +way, better suiting a tavern or a playhouse than a +church.”</p> + +<p>’Tis an ill wind that blows nobody and nothing any +good, and we cannot doubt that his Majesty’s royal<span class="pagenum" id="Page_122">[Pg 122]</span> +mistresses, like the Duchess of Cleveland (Barbara +Palmer), the Duchess of St Albans (Nell Gwynn, the +actress), the mother of the Duke of Monmouth (Lucy +Walters), the Duchess of Portsmouth (Louise de +Querouaille, a French girl), greatly favoured all the +more frivolous diversions with which secular music, +and especially the new-fangled violin, were associated.</p> + +<p>These ladies were bound to be musical, as music +undoubtedly delighted the “merrie monarch,” and +flattered his jaded tastes by its frequent novelty and +emotional excitations.</p> + +<p>The revellers at Whitehall soon attracted to the +capital the greatest violin players from foreign parts. +The supremacy of the new violin pattern was achieved, +and the rage of virtuosity began.</p> + +<p>Even John Evelyn succumbed to the witchery of +Thomas Balzar, a Swede, who arrived in 1656. He +seems to have been the Paganini of the period, and +electrified the Court. Evelyn calls him “incomparable”; +he played off at sight the most amazing difficulties +with ravishing sweetness and “improvements”; +he played a full concert on his single instrument, so +that the rest flung down their violins, acknowledging +the victory. As to worthy Mr Paul Wheeler and +Mr Mell, who were the Spohrs and De Beriots of +their day, they had to hide their diminished heads.</p> + +<p>We are not surprised to hear after this that his +Majesty installed the great Balzar as director of his +twenty-four violins, retained his services at court, and +buried him in the cloisters of Westminster Abbey.</p> + +<p><span class="pagenum" id="Page_123">[Pg 123]</span></p> + +<p>It will be convenient to focus our attention on +English violin-making about this time, for doubtless +the arrival of these foreign players, and the popularity +of the king’s band, gave a great impetus to our native +manufacture. The supply of foreign violins, for which +there was now a growing demand abroad—<i lang="la">i.e.</i>, in +England and France—began to give out as the century +waned. There were plenty of old <i lang="fr">viols</i>, but no <em>old +violins</em> to fall back upon; the violin was a new product; +and, as the court set the fashion, we should +naturally expect the English viol-makers would be +wide awake to the importance of supplying the new +want, and such was the case.</p> + +<p>The Brescian and Cremonese fiddles were hardly +known in England, and what the Italians made were +chiefly for home consumption.</p> + +<p>As the English were great viol-makers in Elizabeth’s +time, we may ask: Why did they allow the Italians to +take the lead in violins? Why is the English school +of violins at least fifty, and the best English violins +a hundred years later than the early Cremona <i lang="fr">chefs-d’œuvre</i>? +Why is Nicolo Amati’s date 1596-1684, +whilst W. Forster is 1713-1801, Duke 1769, and Banks +1795? The answer is not far to seek: the fact that +violin manufacture was checked by the Puritan movement +in England, whilst its progress in Italy was +steady and continuous, enabled the Italians to steal +a march upon us which turned us into pupils, and +pupils afar off too, when we resumed the industry. +I do not say that the superior climatic conditions and<span class="pagenum" id="Page_124">[Pg 124]</span> +generally the art atmosphere of the small Italian +courts must not also be taken into account; but when +attention was called to improved tonal quality, and +a timbre, power, and sensibility undreamed of by the +old viol-makers became <i lang="fr">de rigueur</i>, in response to the +demands of virtuosity and the advance of the musical +art, Italy was bound to win; such Tyrolean woods, +such varnish, such sun, such sentiment, as was required +for the perfect evolution of the violin, could hardly be +found outside Italy. Both Spain and Germany confessed +to the fact, nor could England put it aside. +Accordingly, the highest praise that was ever given +to an English maker was given to Benjamin Banks +(1727-95), who was called “The English Amati”; but +to this day no one has ever been called “The English +Stradivari”!</p> + +<p>Passing by Aireton (died in 1807), who copied Amati, +but used yellow varnish; Henry Jay (1744-77); the +famous kit-makers (the kit is a tiny instrument with +normal neck and finger-board, used chiefly by dancing-masters), +the Kennedys, father and son (1730-1870), +most prolific but mediocre fabricators, chiefly of violins +and tenors; Panormo and Parker, the two first excellent +eighteenth-century makers; we make special mention +of John Rayman, one of, if not the earliest, English +violin-maker. “An extraordinary Rayman” was +amongst the violins owned by Britton, the musical +coal-heaver. Urquhart was also a maker of exceptional +originality.</p> + +<p>Pamphilon (1685) was a fair and excellent workman,<span class="pagenum" id="Page_125">[Pg 125]</span> +high model, moderate tone, with quite splendid varnish. +“Peter Walmsley, at Ye Golden Harp in Piccadilly,” +good copyist of Stainer and an excellent maker, we +are bound to notice on account of his early date and +more solid reputation.</p> + +<p>“Barak Norman” worked and sold fiddles at St +Paul’s Churchyard (1683-1740). His label runs thus, +with a ✠ and crown above it, similar to the labels of +Del Gesù, some of which he may have seen: “Barak +Norman and Nathaniel Cross, at the Bass Viol in S. +Paul’s Churchyard, London, fecit 1702.”</p> + +<p>Mr Walter Brooksbank of Windermere had one of +the Cross viol da gamba, in which, after the style +of the early bell founders, the instrument is supposed +thus to speak for itself. “Nathaniel Cross wrought +my back and belly” (the scroll and sides being by +Barak Norman).</p> + +<p>Meares, about whom little to speak of is known, +except that he was probably a pupil of Rayman’s, is +reputed to have taught Barak Norman.</p> + +<p>Meares is known to have adopted the Brescian +model. He was probably the earliest English maker +of violoncellos. He retains some of the decorative use +of purfling, which rapidly went out as the new violins +came in. He runs his purfle into his monogram with +attendant flourishes. Meares made at first chiefly +viols, after that tenors of excellent quality.</p> + +<p>His violins are much esteemed. He was a close +copyist of Maggini.</p> + +<p>Three of his viols were exhibited in the South<span class="pagenum" id="Page_126">[Pg 126]</span> +Kensington Loan Collection of 1872, but one of them, +dated 1690, had been cut down.</p> + +<p>It remained for Stradiuarius, in the dawning year of +the eighteenth century, to discover and fix the model +of the bass viol that needed no cutting down.</p> + +<p>The musical world owes a debt of eternal gratitude +to the Forster family; there were four of them.</p> + +<p>“Great-grandfather John (1683), maker of spinning-wheels +and violins.</p> + +<p>“Grandfather William, <em>the</em> Forster, commonly called +‘Old Forster.’</p> + +<p>“Father William, No. 2, who also made spinning-wheels.</p> + +<p>“William, No. 3 (1764-1824).”</p> + +<p>His sons, the two brothers William (1733-1824), and +Simon Andrew (1731-1869).</p> + +<p>The second Forster (1739-1807), William, called +“Old Forster,” bears off the palm.</p> + +<p>Born in the north, a native of Brampton, he made +his market, like his father, out of the spinning-wheel +industry of Cumberland, but he was a many-sided +man, a great repairer of viols, and afterwards a maker +of violins, the greatest maker in the north—the greatest +maker in all England.</p> + +<p>He commended his violins to the public by playing +on them himself. He was not beneath playing at +country dances and on village greens.</p> + +<p>We may be sure he never lost an opportunity of +parting, for a consideration, with the violin he played +upon—since naturally, people would often be seized<span class="pagenum" id="Page_127">[Pg 127]</span> +with a desire to possess themselves of an instrument +which they had heard discourse such excellent music +and to the purpose.</p> + +<p>Indeed, I have sometimes known professors in these +days who would so cunningly play to their pupils that +they have been able to palm off for considerable sums +quite inferior instruments.</p> + +<p>How much more easy must it have been for the man +who made them, and made none but the best, and +played them on occasions when his purchasers’ spirits +were high and their dispositions yielding, to dispose of +his exceptional wares.</p> + +<p>About 1759 Forster seems to have concluded that +Cumberland was played out, and, sighing for new worlds +to conquer, he came south. He was quite a young man, +but in the great whirlpool of London, as it was even +then, he seems to have sunk so low as cattle-driving, +but that is in itself a tribute to his versatility and +pluck. Presently he sets up in the Commercial Road, +East, but finding there neither demands for spinning-wheels +nor fiddles, takes to gunstock-making, till he at +last “strikes ile” with one Beck, of Tower Hill, and +there makes such fiddles that Beck grows fat while +Forster remains lean.</p> + +<p>Unable to get his wages raised, he leaves Beck in +1762, and sets up at Duke’s Court, a site now occupied +by the National Gallery.</p> + +<p>For about ten years Forster adopted the high Stainer +pattern, then so popular in England, and attracted the +patronage of amateurs like Colonel West. Afterwards<span class="pagenum" id="Page_128">[Pg 128]</span> +he set up in St Martin’s Lane, and then went to +348 Strand. He had by this time attracted the +attention of royalty, and the Duke of Cumberland, +George III.’s son, is said even to have once dined with +him off black pudding.</p> + +<p>Old Forster’s versatility and enterprise is still further +shown by his opening communications with the great +Joseph Haydn, and it is chiefly to him that England +owes the introduction and publication of Haydn’s immortal +Symphonies.</p> + +<p>The shrewd old man doubtless saw the profit which +lay hid in a scheme which would popularise the greatest +<em>writer</em> for stringed instruments who ever lived, and he +had not miscalculated.</p> + +<p>The same cleverness which prompted him to give the +English a dose of the Stainer model when Stainer was +the rage, prompted him to revert to the later Amati +grand pattern as he reached his ripe maturity. He +also changed his varnish before the close of his life, +and is said to have found the secret of solving amber +with the assistance of the chemist Delaporte, who invented +some stuff known as the Verins Martin.</p> + +<p>Amongst his patrons were George III., who, as +Prince of Wales, was fond of playing the violoncello, +probably one of “Old Forster’s,” and who, when he +asked Haydn, who had been listening to him, how he +thought he played, received the altogether diplomatic +reply, “Vy, your ’ighness do play like a Brince.”</p> + +<p>Peter Pindar (Dr Walcot) and Bartolozzi the engraver +were also amongst Forster’s patrons. He made<span class="pagenum" id="Page_129">[Pg 129]</span> +but four double-basses, and his tenors and ’cellos are +thought better of than his violins. They are steadily +rising in value. He died in the same year as Haydn +(1808). His son William already suffered much from +the foreign competition, which was just beginning to +tell, the duty which protected the English manufactures +having been removed.</p> + +<p>William made some very good instruments, but they +do not equal his father’s; and he made a great deal +of rubbish for the trade besides.</p> + +<p>There was no doubt a certain erratic vein in the +Forster family, which in Old Forster took the shape of +amazing versatility and profitable enterprise, but which +in his son and grandson degenerated into speculative +eccentricity. The son went in for buying grocery, +and invested in other bad businesses. The grandson +turned out very unmanageable, but clever and many-sided; +he worked for a time with Thomas Kennedy, +but got away from him and went in for play-acting, +sometimes taking a turn in the orchestra at the violoncello +desk. He made about fifteen instruments altogether, +two or three of which only approached the +Forster high level. He died in 1824, suddenly, whilst +still quite a young man.</p> + +<p>His brother Simon made a large number of violins—tenors +and ’cellos; they are those signed S. A. +Forster, but they do not rank very high. He was +the first to write a history of the violin, and has +deserved well of all succeeding writers, who quote +him with a touching simplicity of faith, as though,<span class="pagenum" id="Page_130">[Pg 130]</span> +forsooth, because the first, he must needs be the best +authority.</p> + +<p>At the name of Benjamin Banks all tenor and +’cello players lift their hats; for although the later +importation into England of Cremonas has somewhat +obscured our countryman’s fame, his splendid work—even +surpassed, as some think, by his sons James and +Henry—is bound to hold the market again; and a +name extolled by the great virtuoso Lindley, whose +favourite instrument was a Banks, is not likely to be +neglected by Lindley’s successors, even though they +may be the happy possessors of Stradivari basses.</p> + +<p>Benjamin Banks (1727-1795) was a contemporary +of Old Forster (1713-1801), but there is no reason +to suppose that the two artificers ever met or materially +interfered with each other; for Banks worked at +Salisbury, whilst Forster worked in London, and no +express trains bore fiddles or fiddle-buyers swiftly to +and fro in those days.</p> + +<p>Benjamin Banks copied Nicolo Amati very closely; +but Mr Sandys speaks of a rare long-shaped violoncello +of his quite of the Stainer pattern, with the +round-topped Stainer sound-holes. This was none +other than the great Lindley’s famous instrument +which so nearly escaped destruction in a coach accident. +The passengers had a bad shaking and a bad +spill, and Lindley and his violoncello among them; +but the rare enthusiast, in the midst of the confusion, +had but one thought. He flew to his ’cello-case, +and was found seated in a ditch, quietly playing<span class="pagenum" id="Page_131">[Pg 131]</span> +away to assure himself that his beloved was +uninjured.</p> + +<p>Mr Lucas had an excellent Benjamin Banks violin, +but Banks tenors and violoncellos are more esteemed. +Banks made no double-basses; his varnish is yellow-brown, +of excellent quality, but badly laid on, that on +his bellies being often clotted, so that, in technical +parlance, it is said to kill the grain.</p> + +<p>The Earl of Pembroke, who presumably knew no +better, ordered a violoncello of Banks to be made entirely +out of an old cedar-tree, which had been blown +down in his lordship’s park (Wilton). It was, as might +have been foreseen, a great failure in tone. Of course +Banks made it “right enough,” and pocketed the +money, but it is doubtful whether the Earl ever got +his money’s worth.</p> + +<p>I remember a very carefully made violin, all of silver, +another expensive freak of ignorance and eccentricity; +doubtless it sounded like a tin kettle, and was musically +of no use whatever. Some of us may have heard an +ingenious itinerant violinist playing on a tin biscuit-box +with similar results.</p> + +<p>Benjamin’s scrolls are not very elegant, but that +does not affect his tone. Benjamin had a very good +idea of his own importance, and probably, too, a suspicion +of the extent to which his name would be taken +in vain after his death. He tried to make this more +difficult by not only varying his labels in about four +different ways, but also stamping his instruments in +several places with his own peculiar seal, B.B.</p> + +<p><span class="pagenum" id="Page_132">[Pg 132]</span></p> + +<p>Benjamin’s sons fell far below their father, but the +old man left quite a number of white unvarnished +instruments in a cellar when the business was sold, all +of which were duly completed and sent forth with his +name, to which, however, they have but a partial right; +for, as his sons worked with him, it is by no means +certain that every fiddle in Bank’s shop at the time of +his death was made by Benjamin <i lang="fr">père</i>.</p> + +<p>Duke (1754-69) was remarkable as having largely +contributed to create in England the Stainer furore +which so confused the judgment of amateurs in this +country, and retarded for at least fifty years the +triumph of the Stradivari grand pattern. In reality the +best Dukes are on the Amati pattern, but they are few +in number, and though there are innumerable fraudulent +Dukes about, a real Duke is seldom seen. The +fraudulent Dukes exaggerate the high bellies and deep +grooving of the earlier Amati, and thus pass for Stainer +pattern. Duke’s varnish is also of a yellow or yellow-brown +hue. It is not likely that Duke’s reputation +will increase, though the rarity of genuine Dukes and +the plentiful number of counterfeits may still run up +a few real specimens to fancy prices.</p> + +<p>I cannot close this brief survey of the old English +makers without a mention of Bernard Fendt (1756-1832). +He was originally a Swiss cabinet-maker, but +coming to London, went into business with Thomas +Dodd, for whom, and with whom, he began to make +violins. Fendt soon got hold of another cabinet-maker, +a compatriot, and Dodd took him also into the<span class="pagenum" id="Page_133">[Pg 133]</span> +business. These two clever artificers soon raised Dodd’s +business to great prosperity, and Dodd thus had the +honour of putting his own name in their violins. All +he had done, however, was to varnish them, but he did +that superlatively well, so that Dodd’s varnish became +as famous as Dodd’s bows.</p> + +<p>Fendt afterwards left Dodd and worked for John +Betts, who was famous for his imitations of Amati, +which he said paid better than making fiddles with his +own name in them. Many of his best imitations were +made by Fendt, who has thus created the reputation of +two makers besides himself. His son, who died only +in 1851, would have equalled his father had he not +been seduced by the vicious practice of prematurely +aging his violins, thus pandering to the taste for old +fiddles at the expense of the fiddles themselves—for it +is notorious that such frauds do not improve by age.</p> + + +<p><span class="smcap">A Vignette of W. E. Hill.</span></p> + +<p>Dark—yes, to my eyes very dark; but the light in +William Ebsworth Hill’s old shop in Wardour Street +was good enough for him; a greater glare might have +flouted those hundreds of old brown fiddles, and dusty +débris of fiddles, which that very moderately sized establishment +was hung, lined, strewn, and littered o’er with.</p> + +<p>So the dim light, relieved on foggy days with a +casual gas-jet, or even a candle-end, seemed better than +the garish sunlight for that dusky brood—even as the +moonbeam, according to Sir Walter Scott, touched the<span class="pagenum" id="Page_134">[Pg 134]</span> +grey ruins of Melrose more tenderly than the light +of day.</p> + +<p>There were no electric lamps in those days (in 1870), +consequently no patent asbestos appliances for converting +the impure London gas into a specious and +blazing rival.</p> + +<p>Mr Hill tried to do too much. In his back shop +he conducted repairs, and frequently brought his “repairs” +into the front shop. I have seen him there, +behind the counter, busy with gouge, knife, or scraper. +When customers or applicants for advice arrived—some +with cheap German fiddles which they fondly believed +to be rare specimens of Cremona, others with their own +good, bad, and indifferent instruments to be done up—they +were received one and all with the same mild +and tolerant inattention, born not of incivility, but of +abstraction. Such as knew Mr Hill in those days, +knew the nearest approach we shall perhaps ever see +to the great Cremona makers. I do not say that +any of Mr Hill’s work (barring his exquisite repairs +and carving) is likely to rank with theirs; he was an +admirable maker, but he very soon left off making. +When the duty on foreign violins was removed there +poured into England a continuous stream of fiddles, +which entirely swamped the demand for new ones of +English make. Mr Hill, following the market, turned +his attention to repairing and dealing; but the art +and craft atmosphere, the knowledge, the familiarity +with violin constitution, the infallible intuition and +single-minded love of the violin for its own sake,<span class="pagenum" id="Page_135">[Pg 135]</span> +as a thing of beauty, wonder, mystery, more than +enough to monopolise a lifetime of devotion—this is +what made Mr Ebsworth Hill the spiritual heir of +the grand old fiddle-makers. “Why,” he said to me +once, “talk about not knowing the touch of this or +that maker? I know the sort of tools Stradivari or +Joseph used. I can see the mark of a special favourite +knife here or gouge there. I know which way he used +to cut and slice, and how he held his tool for such and +such a kind of finish. I can see ’em at work, and the +handling of one is no more like another’s than the +touch of one painter is like another’s.”</p> + +<p>When you took a fiddle in to show Mr Hill, you +had to wait Mr Hill’s good time; he seldom answered +immediately he was spoken to, but would look up +dreamily through his spectacles without laying down +his file or knife, and let off some such dogmatic and +oracular sentence as: “You want to know how I can +tell a fiddle. Well, I don’t know how I can tell; and +there are days when I don’t trust my judgment—days +I can’t see, for instance. I leave off looking at fiddles +for a day or two; and when I come back I take up +this fiddle and that, and just at first I can’t see anything—those +fiddles tell me nothing; it’s a peculiar +state of mind—just as a player or a surgeon’s hand +gets out, so a judge’s eye gets out. I know exactly +when I see and when I can’t see, and when I can’t see +I hold my tongue; and I know exactly how much I +can see, but I don’t tell everybody.” The casual visitor +could make very little of old Hill at first. There<span class="pagenum" id="Page_136">[Pg 136]</span> +was a curious sort of inner otherwhereness—to coin a +word—about him. Some people found him very trying +indeed. You never knew whether he heard what you +said; but when at last he favoured you with a remark, +you discovered that he had not only heard your words, +but that he had accurately gauged <em>you</em>.</p> + +<p>His action was often unexpected and sometimes +alarming. I one day entered his shop with a friend +who had a fiddle which he much prized, and indeed +it was a really valuable instrument, but needed overhauling.</p> + +<p>We both stood in front of the counter, and old Hill +was bending over a scroll that he was fitting on to a +new neck. I addressed him on behalf of my friend, but +he took no notice whatever; he remained absorbed in +his delicate adjustments; and no Prince of the blood +would have fared any better than we did until he had +finished what he was about. Again I mentioned my +friend’s name: “Mr —— has brought you his fiddle to +look at by my advice. Perhaps you can tell him what +ought to be done.” Hill looked up, nodded, eyed my +friend through his spectacles with cold interest, and +then resumed his work. I had to rouse him a second +time before he seemed to grasp the fact that my +anxious friend had taken his precious Cremona from +its case and was standing with it in his hand ready for +the magician’s inspection.</p> + +<p>At last Hill laid down his tool, and taking the +instrument in his hands, gave it one quick glance and +a couple of taps; he then deliberately looked in its<span class="pagenum" id="Page_137">[Pg 137]</span> +astonished owner’s face, tore off the finger-board, +loosened the neck, and drove a knife under the belly. +The fiddle was soon in pieces, and he threw the loose +fragments aside in a heap, took up his repairs again, +and said he would attend to the matter by-and-by, +and the gentleman need not stop; and we got no more +out of old Hill that day, who immediately became reabsorbed +in his work.</p> + +<p>I shall never forget the rueful and amazed look with +which my poor friend beheld the tearing to pieces of +his Cremona, but I touched him on the arm, and seeing +that Hill was in no mood for talk, got him out of the +shop, assuring him that it was all right, and that the +great repairer had shown more interest than usual in +his valuable instrument, or he would never have torn +it to pieces then and there; and with such words I +strove to comfort my perplexed and anxious friend.</p> + +<p>I am bound to add that although Hill kept him +waiting several months, when the fiddle came back its +owner was more than satisfied, and declared that he +then heard his Cremona for the first time.</p> + +<p>Mr William Ebsworth Hill came of a family of +violin-makers and violin-players. Joseph Hill, who +was born 1715, was proud to trace his descent from +the “Mr Hill” mentioned in Pepys’ Diary as being +employed to alter his lute and viall.</p> + +<p>Joseph was a prolific and excellent violin-maker, and +carried on business in the early part of the eighteenth +century at the sign of the Harp and Flute in the +Haymarket.</p> + +<p><span class="pagenum" id="Page_138">[Pg 138]</span></p> + +<p>He had five sons; all made violins and three played +professionally, whilst the other two, like the present +four brothers Hill in Bond Street, followed their +father’s vocation alone. The third son, Lockey Hill, +was the father of Henry Lockey Hill, who became in +his turn the father of William Ebsworth Hill, known +in the middle of this century as Mr Hill of Wardour +Street. Hill’s father, Henry Lockey, an excellent +violin-maker, died in 1835. The Hills seem prolific +in sons, and Lockey left four sons. Henry distinguished +himself as an admirable quartet player, and +well do I remember the splendid tone of his Barak +Norman tenor at Willis’ Rooms as far back I think as +1848, when, with Sainton, Piatti, and Cooper—one of +the best, as it was almost the earliest string quartet cast +in London—he assisted in delighting and educating a +select public in the mysteries of chamber music, which +has been since so freely expounded by Ella’s Musical +Union and the Monday Popular Concerts.</p> + +<p>Berlioz always spoke of Henry Hill in terms of the +highest praise; he even went so far as to say that he +considered him one of the first performers in Europe.</p> + +<p>It is seldom that a tenor player ever comes in for +direct commendation. He acts as a sort of go-between +to violoncello and violin; but his individual efforts, +although so important to the combined effect, are +usually lost sight of between the grand work of the +bass and the brilliant lead and musical embroideries of +the first and second violins.</p> + +<p>There are too few concertos or strong parts written<span class="pagenum" id="Page_139">[Pg 139]</span> +for the poor tenor, the Cinderella of the establishment, +which is regrettable when one thinks of the glorious +violas of Maggini and the Amati. Mr Hill’s Barak +Norman is now the property of Mr Doyle.</p> + +<p>William Ebsworth Hill, our great repairer, connoisseur, +and dealer all in one, was born in 1817. He was +educated at the Borough Road School, under the well-known +Dr Lancaster, but it is certain that he went early +to the bench, for at the age of fourteen we find him +employed in cutting bridges in his father’s workshop.</p> + +<p>For this purpose he used only a bradawl and a knife, +and towards the end of his life he returned to bridge-cutting, +and has left many beautiful specimens. His +sons have a collection of two hundred, and no two of +the same pattern; they have also reverently preserved +under glass his simple tools. He worked with extraordinary +rapidity, equalled by his fastidious finish. +He preferred the commonest tools, so only they were +of the finest metal. He used to scorn the mechanical +labour-saving appliances which now enable workmen +to turn out hundreds instead of dozens of fiddles, and +he heartily despised artificers who needed an elaborate +plant before they could produce anything decent. +A good maker, he was wont to say, could make a +fiddle “with a knife and fork.” Mr Hill’s skill in +bridge-making on one occasion misled so eminent a +judge as Monsieur Fétis, of the Brussels Conservatoire. +In 1851, the Prince Consort having expressed a wish +to hear a concert of old instruments, a viol d’amore +which was to be played by Ebsworth’s brother, Henry<span class="pagenum" id="Page_140">[Pg 140]</span> +Hill, required a new bridge, which Ebsworth very +quickly made. I remember hearing Hill perform on +this viol d’amore with seven strings, at one of Monsieur +Julien’s Popular Concerts at the old Surrey Gardens. +The elaborate arpeggios were most fascinating, and +unlike anything I ever listened to before or have ever +heard since. In due time the viol d’amore, which had +been lent by the Brussels Conservatoire, was returned, +and Monsieur Fétis, who was the Principal, and engaged +at that time in writing his valuable monograph on +Stradivari, was very much bent upon hunting up old +bridges. He happened to pitch upon the viol d’amore +bridge, which he declared to be a highly interesting +specimen of the artistic work of the great Cremona +period. Mr Alfred Hill, one of Ebsworth Hill’s sons, +happened to be at Brussels, and his attention was called +to Monsieur Fétis’ eulogium on the antique viol d’amore +bridge. “That,” says Mr Alfred to Monsieur Victor +Mahillon the curator, “is not an old bridge; it was +cut by my father.” An incredulous smile overspread +the worthy curator’s face, which was quickly changed +into a look of apologetic admiration and surprise when +Mr Hill, junior, turning up the bridge, pointed to +“W. E. Hill” stamped upon it.</p> + +<p>Ebsworth Hill’s father died in 1835, and not long +afterwards Ebsworth, wishing to perfect himself in the +technique of his art, went to study under the accomplished +maker Charles Harris, of Oxford.</p> + +<p>About 1838 he set up for himself in St George’s +Road, Southwark.</p> + +<p><span class="pagenum" id="Page_141">[Pg 141]</span></p> + +<p>Mr Woolhouse, the well-known collector, was one of +his earliest patrons; but his fame soon spread, and he +found he had more work than he could well manage. +He was also much resorted to as one of the few men +whose judgment on a violin admitted of no appeal, +and who could be trusted to give an honest opinion.</p> + +<p>From Southwark, Hill went to Wardour Street, which +for many years was as much the violin quarter in +London as the Rue Croix des Petits Champs is in +Paris. It was there, when I was little more than a +boy, that I first made Mr Hill’s acquaintance. I used +to take him my fiddles, and I was always drawn to the +young boys, his sons, who frequented their father’s +shop, and had the profoundest sense of his importance +and ability. It is not too much to say that Arthur, +Alfred, William, and Walter Hill have enjoyed unique +opportunities from their earliest childhood, and have +not failed to qualify themselves assiduously for the high +position that the firm of Hill & Sons now holds in the +violin world.</p> + +<p>The boys inherited violin tendencies. They were +steeped from childhood in violin tradition. They had +special chances for seeing, handling, and diagnosing +most of the great violins now extant. No time or +money was spared by their father on the boys’ education, +and certainly no boys ever made a better use of +their privileges.</p> + +<p>Alfred and Walter went to Mirecourt, to study all +that could be taught in the most scientific and celebrated +workshop in the world.</p> + +<p><span class="pagenum" id="Page_142">[Pg 142]</span></p> + +<p>Arthur stayed at home and kept his eye in, being +always in close attendance on his father, and never +missing an opportunity of acquiring a new fact, or a +fiddle, old or new, which was likely to bring grist to +the mill or credit to the firm.</p> + +<p>From what has been said it may have been inferred, +and not erroneously, that Ebsworth Hill was not, +financially speaking, a business man—though he did +all his own business. For years everything that came +into the shop passed through his hands; he made every +repair, doctored every fiddle, adjusted every screw, +regulated or replaced every sound-bar and sound-post, +and even strung the fiddles for his clients with his own +hand—in short, he did or closely superintended everything; +division of labour, to the extent to which it +is now carried, being a thing unknown in those early +days.</p> + +<p>That such a system could not bring in large profits +was obvious. Hill had many bad debts; his memory +for fiddles was infallible, but his memory for accounts +shocking, and he was cheated right and left.</p> + +<p>His fame was so widespread that orders poured in +which could not be executed; and when the old man’s +apparently inexhaustible powers of work began to give +out, the sons, who had watched proceedings for years +and slowly qualified themselves for every department, +came in and broke up the one-man system—not before +financially confusion was becoming worse confounded. +They trained their workmen, distributed the work, +kept proper accounts for the first time, and in a few<span class="pagenum" id="Page_143">[Pg 143]</span> +years built up what is, perhaps, when considered in all +its branches, the largest individual violin-dealing industry +in the world.</p> + +<p>Mr Hill was a man of striking appearance: thin, +spare, with light hair, and moustache early gone grey; +blue-grey eyes, very keen; a thoughtful face, often +lighted up with a whimsical smile—for the man was +full of humour, though mostly of a genial sort.</p> + +<p>He was very much more of an all-round man than +people who merely conversed with him on violins would +suppose. Highly educated, in the usual sense of the +word, he was certainly not; but he had a great acquaintance +with human nature, and an extraordinary +insight into character.</p> + +<p>His sly remarks on men and their manners, including +their morals, were a perpetual feast to all who were +admitted to his intimacy. In his own special line he +was without a rival. He did not always say what he +knew, but he never said what he did not know.</p> + +<p>He was frequently appealed to in doubtful cases, +but was greatly opposed to litigation, and it was +difficult to extract from him any opinion likely to +lead to it.</p> + +<p>Once in the witness-box he was what the lawyers +call a dangerous customer. His manner was perfectly +quiet, assured, and straightforward. He was +absolutely decided, and would never budge from his +opinion, and under pressure of cross-examination often +raised a laugh at the expense of counsel.</p> + +<p>His sons have treasured many of his wise and witty<span class="pagenum" id="Page_144">[Pg 144]</span> +sayings. On one occasion he refused to sell to a customer +who already owed more than he could pay. +Hill remarked dryly when the gentleman had left the +shop, “That man’s complaint is wind in the pockets.” +Of an amateur who was proud of showing off his style +on his fiddles, Hill, looking up from his work, would +say with a comical twinkle, “Hark, now, he’s doing +the lovely.”</p> + +<p>The manner was often worth more than the matter.</p> + +<p>His memory was as extraordinary as Tarisio’s. On +one occasion a claim was brought against a railway +company for sixty pounds’ damage to the belly of a +violoncello. The company demanded a valuation, and +damages to be assessed by Hill. The claimant at last +angrily submitted. Hill reported on the instrument, +which he repaired for about thirty shillings. Five +pounds he thought would be very liberal damages. +The owner was furious, and would not even accept +fifteen guineas. Mr Hill was at last called up, and +made the following unpleasant statement: “This instrument +does not belong to this man at all. It is one +of the instruments belonging to her Majesty, and used +by the members of the private band.” The <i lang="fr">soi-disant</i> +owner was perfectly dumbfounded, but was obliged to +confess that he had actually borrowed the instrument +when employed as deputy in the Queen’s Band several +years before, and had never restored it. Mr Hill had +only seen it once before.</p> + +<p>A violin, said to be by F. Panormo, was sold as +such by a dealer in Pentonville Road. It came into<span class="pagenum" id="Page_145">[Pg 145]</span> +Hill’s hands many years afterwards, who was asked +to take it in part payment for another violin. He +said: “This fiddle was not made by Panormo; it was +made by my father about the year 1812 for my brother +Henry, and owing to the difficulty of getting good +foreign wood, my father made the back and ribs from +English maple. It could not possibly have a good +tone, but I should like to have it, and will allow £10 +for it.” Mr Hill immediately proceeded to remove the +belly. On the inside was written in pencil, “Made for +my son Henry in the year 1812.”</p> + +<p>Mr Hill led an extremely abstemious life. His +only relaxations were reading and long walks on +Sundays. Towards the close of his life he found +himself surrounded by his sons, superintending a large +staff of workmen, and his workshops at Hanwell, +adjoining his country home, are well known. For +some years before he died the direction of affairs had +practically passed into the hands of his sons, whom +he had so admirably trained to succeed him, and to +them is entirely due the present great commercial +prosperity of the firm.</p> + +<p>William Ebsworth Hill sank gradually from senile +exhaustion of brain power, and died in 1895, aged +seventy-seven.</p> +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> +<p><span class="pagenum" id="Page_146">[Pg 146]</span></p> + +<p class="center"> +CHAPTER IX</p> +</div> +<br> +<p class="center"> +VIOLIN VARNISH</p> + + +<p>When a true chemist enters a laboratory fitted up +with the usual mysterious tubes, crucibles, “baths,” +and general apparatus for distillation, and his nose +scents the aroma of gums, spirits, essential oils, and +what not, he experiences an atmospheric sensation +which enthuses him for his work. What the odour +of stables is to the lover of horses, or the smell of +paint to the artist, that is the laboratory aroma to +the chemist.</p> + +<p>I have no insight into crucibles, and I don’t like +smells. The proportion of subtle weights and measures, +avoirdupois or troy, are beyond me; the disputations +of science and the general incapacity of scientists to +agree about mixed problems puzzles and sometimes +“impatients” me, as the French say.</p> + +<p>In wading through various treatises on Cremona +varnish I regret to say I have experienced vague +emotions of annoyance and perplexity which I would +fain conceal from the reader. I should like to pose +as the clear exponent of the famous Cremona secret, +or hold some one fixed opinion, buttressed by arguments +weighty enough to confound all opponents, and<span class="pagenum" id="Page_147">[Pg 147]</span> +based upon the “triumphs of modern research.” The +triumph of modern research seems to me to consist in +the discovery that we have as yet failed to discover +the Cremona varnish, as, although we may speculate +about it and at moments seem to come very near +the mark, as yet we cannot make the stuff, or, at all +events, apply it in Cremona fashion to our new fiddles.</p> + +<p>It may be consoling, but not very satisfactory, to +reflect that no one has mixed it or applied it in +Cremona fashion since about 1750; but that fact only +serves to whet the curious appetite, and each writer +braces himself for renewed disquisitions, visits workshops, +and scrapes bits off Cremonas when he can, +perhaps dabbles himself with gums and alcohol, and +pumps fiddle-makers with a view to wringing the +secret out of the Cremona sphynx.</p> + +<p>So entirely mixed is the whole subject that the +violin world can’t even decide in what the proper +functions of the varnish consist. One maintains that +it is merely for the preservation of the wood, another +that it greatly affects the tone, and the third that +it is chiefly decorative.</p> + +<p>To me it seems almost a truism to say that the +varnish is good for all three purposes: that it preserves +the wood is certain, though exactly how is +open to discussion; that it affects the tone is equally +certain, though exactly how is still a moot point; +that it is decorative is obvious, though taste in the +colouring has varied with each school of makers as +much as some makers have varied with themselves.</p> + +<p><span class="pagenum" id="Page_148">[Pg 148]</span></p> + +<p>For my part, after reading a dozen disquisitions on +the Cremona varnish, and inspecting hundreds of fiddles +for a quarter of a century, I applaud the courage and +reticence of Mr George Hart, who, in his valuable +book on old violins, gives just five pages on Italian +varnish, with an intelligent description of its various +appearances, a brief quotation from the inimitable +writer Charles Reade, and not a single recipe.</p> + +<p>As I am not writing for violin-makers, but only +for collectors, I shall certainly not rush in where +authorities like Mr Hart fear to tread, and shall +content myself with a few probable suppositions and +a few more generally descriptive remarks.</p> + +<p>Some authorities maintain that the wood should +be first saturated with oil before the colouring varnish +is applied, a practice which has a tendency to clog +the pores, so that until some age has been put on and +the wood has become desiccated and shaken free from +the grosser oily particles, the vibrations are stifled and +the tone consequently dull.</p> + +<p>Others declare that the sizing of oil should not +penetrate the wood far, but leave it free to desiccate +by itself, and merely act as a sort of veneer for the +colour varnish which has got to be spread over the +transparent oil covering. The wood, in fact, has to be +sized first and varnished afterwards. Taking this view, +the process would be something of this kind: The +white belly is cut from fine pine which has been six +or seven years drying in the sun, but never exposed +to rain and waits patiently for its anointing. A stick<span class="pagenum" id="Page_149">[Pg 149]</span> +of that resinous gum beloved of artists, gamboge +yellow, from Gamboga, Siam, or China, is then powdered +and dissolved in pure alcohol; sloes are sometimes +added, or when a yellow ground is not desired, +sandarak and the long resinous tears of benzoin are +treated with pure alcohol. When the back, belly, +and ribs are thoroughly dry, the colouring, like a +flavouring to taste, is added.</p> + +<p>The chief colouring ingredients appear to be of +two kinds of sandal-wood, one yielding red orange +tints, from Calcutta, and the other a deeper red, from +the Coromandel Coast. An alcoholic solution of these +is mixed with essential oil of turpentine, freely oxydised +(or exposed to the air) and laid on the perfectly dry +surface in successive layers, each layer being allowed +to dry separately.</p> + +<p>The colour coating thus lies like an agate film over +the oil sizing, and through the top varnish as through +coloured glass may be seen—dyed orange, or red, or +brown—all the delicate curls and fibres of the wood, +shown up as by a kind of Röntgen rays by the oil size.</p> + +<p>We are told that the resins used may be divided into +hard and soft, and that of these the soft, such as mastic +and dammar, are the best, because the most elastic and +friendly to the waves of vibration. The mastic and +dammar resins seem to unite, in the greatest perfection, +the three essential properties most suitable for varnish—elasticity, +solidity, and transparency.</p> + +<p>The Cremonese are said to have used nothing but +the soft resins. The much-talked-of, old-fashioned<span class="pagenum" id="Page_150">[Pg 150]</span> +dragon’s blood, a resinous gum from the Draconian +Draco, does not seem now to be commonly forthcoming. +The Calami Draco of Borneo has taken its place. The +old dragon’s blood has been much talked about, and +credited with giving a certain splendid sanguineous +flush to some of the rare Cremonese bellies upon which +the judicious amateur dotes.</p> + +<p>And now, what is amber varnish? The usual answer +is, there is no such thing. Certainly it was never used +by Stradivari, for it is said the secret of fusing that +hard gum was only discovered by Martin the chemist +in 1737, the year of Stradivari’s death. On the other +hand, I hear that amber has been found in the varnish +of Giuseppe del Gesù—by what analysis I do not know. +The usual way of rubbing a violin and smelling the +surface has always seemed to me to furnish a most unreliable +test. One saith, “I smell benzoin”; or another, +“I smell mastic”; and a third, “I smell amber”; and a +fourth, “I smell nought”; and this battle of olfactory +organs is like to go on, as saith the poet—</p> + +<div class="poetry-container"> +<div class="poetry"> + <div class="stanza"> + <div class="verse indent0">“As long as man has passions,</div> + <div class="verse indent0">As long as life has woes”;</div> + </div> +</div> +</div> + +<p>or, as we may say—</p> + +<div class="poetry-container"> +<div class="poetry"> + <div class="stanza"> + <div class="verse indent0">“As long as man has nose.”</div> + </div> +</div> +</div> + +<p>So here I desire to take my leave of this thorny subject, +and with a sense of relief I abandon crucibles to +the expert, and oils and resins to the disputatious, +merely reminding our collectors for practical purpose +that the Brescian varnish is soft and brown, but without<span class="pagenum" id="Page_151">[Pg 151]</span> +the magical Cremonese transparency; the Cremona +is amber-coloured (early) or (later) light red orange, +and sometimes velvety brown, and very soft and glossy +as it rubs away.</p> + +<p>The Venetian varnish of many shades is very clear; +the Stainer, yellow-brown, with a subtle roseate flush +at times; the normal German, brown and muddy; +the French, Cremonese in colour, but glassy and chipping +rather than soft and glossy. Some of the English +varnish is remarkable, that of Dodd even approximating +closely to the Cremona school, etc.</p> + +<p>On the whole, the best solution of the Cremona +mystery seems to me that it was probably no mystery +at all, which also best accounts for the disappearance +of the varnish towards the middle of the eighteenth +century. It is absurd to suppose that the varnish used +by at least one hundred makers for more than one hundred +years (for Italian violins from 1550 to 1660 up to +1740 all have it) could have been a secret; it was probably +the ordinary varnish of commerce, superseded by +the quicker and more convenient spirit-varnishes which +came in and thrust it out of the market, and these +ready-made compounds proved excellent for furniture +which is not prized for its resonant or variously tinted +qualities, but they unfortunately put out of court the +kind of varnish best suited for violins—the yielding, +soft, elastic oil varnish; and the very ingredients, <em>e.g.</em> +dragon blood (of the liliaceæ trees), ceased to be in demand, +and consequently disappeared from the Italian +markets.</p> + +<p><span class="pagenum" id="Page_152">[Pg 152]</span></p> + +<p>The materials being now absent, the varnish was +differently composed. The trick of mixing it got lost +along with the stuff to be mixed, and the Cremonese +secret, once an open secret, lapsed and lapsed, as it +seems, most irrecoverably.</p> + +<p>At one time every one knew how the ancient war-galleys +were rowed; how the Pyramids were built; how +Stonehenge was poised; how the Medicean poisons were +distilled, and how the old masters mixed their colours; +now no one knows.</p> + +<p>Of the Cremona varnish it must be written, as we +have to write of these unexplained disappearances of +the lost and missing—</p> + +<p class="center"> +“Gone, and made no sign.”<br> +</p> +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> +<p><span class="pagenum" id="Page_153">[Pg 153]</span></p> + +<p class="center"> +CHAPTER X</p> +</div> +<br> +<p class="center"> +VIOLIN STRINGS</p> + + +<p>“To scrape the inside of a cat with the outside of a +horse” is far from an accurate or exhaustive description +of violin playing, nor can I understand why violin +strings are called cat-gut at all, since they are made +from the intestines of the sheep, goat, or lamb, and +have absolutely nothing to do with pussy.</p> + +<p>I can only suppose that the frightful and melancholy +tones habitually elicited by inexperienced players may +have reminded people of the nocturnal cat sufficiently +to credit that maligned animal with providing part of +the mechanical apparatus for their production.</p> + +<p>Of late years a great deal has been said about the +extreme importance of the strings, of adapting the +player to the fiddle’s constitution, etc. I freely admit +that some players with very strong hands, like Lindley +and Dragonetti, can manage thicker strings with effect +better than people with weaker muscles. I also admit +generally that it would be a mistake to string a sensitive +old Nicolo Amati with thick strings, which a robust +Joseph or Bergonzi might be able to bear; that a raw +new fiddle to be rubbed down in the orchestra will also +take to thick strings; and that it is pretty obvious, as<span class="pagenum" id="Page_154">[Pg 154]</span> +every player knows, that one cannot stop fifths in +good tune if the strings are not relatively well proportioned.</p> + +<p>It is also a truism that it is best to buy the best +strings, and that false strings are abominable. But I +do not go much beyond this, and I would say about +strings what I say about bows, that bad workmen +always complain of their tools, and that, as Paganini was +able—although as a mere trick—to discourse excellent +music with a tobacco-pipe or a reed, so his admirers +were often surprised to notice that he would go into +the concert room with his strings very much out of +condition.</p> + +<p>Practically I do not suppose that one violinist in +fifty uses a string-gauge; he soon learns to judge +sufficiently by the eye what his fingers want, what his +tone requires, and what his violin exacts.</p> + +<p>Still, in these days of analysis and detail, there +being nothing left untalked about, writers have fastened +quite within the last thirty years on the strings; +but I have often noticed that players who fuss most +over these details, which are doubtless of importance, +are those who are least able to avail themselves of the +perfect conditions which they seek. Perfect gut, rosin +by rule, and an exquisitely poised bow, no more make a +fiddler than scientific sanitation makes a healthy subject. +I cannot too persistently urge that the violinist +bends conditions to the magic of his will and his +skill.</p> + +<p>His business is to qualify <em>himself</em>, and then get the<span class="pagenum" id="Page_155">[Pg 155]</span> +best fiddle, bow, and strings that he can. This ought +he to do, and not to leave the others undone.</p> + +<p>There is no reason to suppose that any advance in +the manufacture of gut-strings has been made since +the seventeenth century. Even a work by Le Roy, +dated 1570, gives the best recipe yet known for the +detection of false strings.</p> + +<p>“It is needful,” he says, “to prove them between +the hands in the manner set forth in the figure” (which +we reproduce); and he goes on to explain what everybody +now knows—that if two lines only appear, the +string is true; if more, false. But he fails to add that +such a rough test only holds good for the thinner and +simpler woven cords. In Doni’s book (1647) we find +such subtleties as these: “There are many particulars +relating to the construction of instruments which are +unknown to modern artificers, as, namely, that the best +strings are made when the north (and the worst when +the south) wind blows”—a suggestive hint relating to +the acknowledged importance of atmospheric, perhaps +magnetic, and at any rate climatic, conditions.</p> + +<p>How do we make our strings?</p> + +<p>Putting aside mature sheep and goats, we kill our +young Italian lamb in September. We open him at +once, and take the intestine whilst still warm; stretch +it on an inclined plane; scrape it and clean it +thoroughly without delay. We then steep it for +about fifteen hours in cold water, with a little carbonate +of soda, and then substitute tepid water for a +few hours more.</p> + +<p><span class="pagenum" id="Page_156">[Pg 156]</span></p> + +<p>Now we are ready to remove the fibrous or muscular +membrane from between the peritoneal and mucous +membrane. This is done by women, who scrape it +with a cane. The precious selected membranes are +then soaked in jars containing an ammoniacal solution; +they are then rubbed through the fingers three times +a day, treated with permanganate of potash, cleaned, +sorted, cut, and split; and, finally, the threads are +spun—three or four thin threads for first violin strings, +three or four thicknesses for the second, six or seven +for “D” string. Double-bass strings take up to eighty-five +threads. Further twistings, soakings, and polishings +take place, into which we need not enter, and the +strings are finally dressed with olive oil and then +coiled.</p> + +<p>I have gone into these details to show with what +care and complex elaboration string manufacture is +carried on.</p> + +<p>The false string is due to inequalities, lumps, and +varieties of texture in the gut; and if only the defective +part can be distributed either near the head or +the tailpiece, outside the vibratory length, your false +string becomes true. This is why the experiment of +reversing the string, putting tail portion headwise or +<i lang="la">vice versâ</i>, will sometimes remedy the defect.</p> + +<p>For the fourth or silver string the gut or silk (which +is used) is wrapped with pure silver, or copper, or alternate +silver and copper wire. The beautiful French +patent silver fourth, as smooth as polished steel, is +incomparably best for solo playing; it is also thinner,<span class="pagenum" id="Page_157">[Pg 157]</span> +in my opinion too much thinner, than the mixed silver +and copper fourths, which are very serviceable for +rougher orchestral work.</p> + +<p>The vice of silver strings is to rise (and of gut strings +to fall) with heat; but if your screws are in perfect order, +and you are expert enough, you will remedy either by +a rapid subtle twist during a bar’s rest, or a quick +nipping the head of the peg between the first and +third joint of your left-hand forefinger. I have seen +Sarasate tune two pegs thus in the course of a very +brief “tutti.”</p> + +<p>Mr Hart may be accepted as a final authority on +the relative merits and the different schools of violin +strings at present in the market, and his dicta substantially +agree with my own experience. Of course +he gives the palm to the Italian strings, which is largely +due to the good climatic conditions, which enable their +manufacture to be carried on in the open air and sunlight +of that favoured clime.</p> + +<p>In Rome strings are yellowish, hard, and brilliant, +and a little rough in finish.</p> + +<p>The Neapolitans are smooth, soft in texture, and +whiter in appearance.</p> + +<p>The Paduans polished, durable, and frequently +“false.” Strings “made in Germany” (Saxony), as a +set off against the swarms of trade German fiddles, +rank next to Italian.</p> + +<p>The French rank third. Their larger strings are +better than their seconds, which are often brittle; +their patent first <i lang="fr">accribelles</i>, made of silk, are hard<span class="pagenum" id="Page_158">[Pg 158]</span> +and brilliant, but not comparable, in my opinion, to a +fine Roman gut “E” string.</p> + +<p>The English make a good, serviceable, dull green +looking string, durable, uneven, and not unfrequently +false. To my mind, English strings are only fit for rank-and-file +orchestral fiddling, but not good enough for the +loader. Mr Heron Allen, who has given great attention +to such details, says that the best strings in the market +are imported from Signor Andrew Ruffini of Naples, +but I have always had a weakness for Roman strings.</p> + +<p>Too great caution, however, cannot be used in +buying strings. Never buy from any but the best +firms; they can’t afford to keep “job lots, going vera +chep”—these may be bought up by provincial houses +and retailed to an undiscerning public.</p> + +<p>Notice that small “job lot” people do not know +how to keep their strings—or, I should rather say, +they keep them too long and too dry.</p> + +<p>It does not follow that even the best strings will +turn out successes if they have been kept too long or +too dry.</p> + +<p>I once ordered £1 worth of Roman “E” strings for +myself, and another £1 worth for a friend. They all +arrived as dry and brittle as mummy wood; they all +snapped as I put them on. In about a week I got a +furious letter from my unfortunate friend who had +trusted me—all his strings had snapped.</p> + +<p>I have but one counsel to give. Take the best +firm’s advice and pay the best firm’s price—if you +can afford it. Always keep a couple of tested, <em>i.e.</em><span class="pagenum" id="Page_159">[Pg 159]</span> +stretched “E” lengths in your case. If you are a soloist +this will save you some annoyance and delay should +your “E” string go in the middle of a performance.</p> + +<p>So far, then, and no further, need I discuss violin +strings; but there are two other violin adjuncts not +important enough to call for a separate chapter. I allude +to the mute and the chin-rest. The mute is occasionally +fixed on the bridge to give the sound that singular +faint far-off twang like the whisper of a ghostly violin. +The mute has the singular property of making the +violin abnormally sensitive for the time. The mute +is made of wood, metal, or vulcanite; personally, I +much prefer the metal mute—it does the business +more thoroughly. It is not a good practice to use the +mute habitually while practising to subdue the sound. +The violin really resents the use of the mute at all, +but will put up with it for a short time (just as a +good horse will not resent a spur or a bearing-rein in +moderation). For a minute or two after the removal +of the mute the violin does not quite recover its tone; +some of the particles in its wood have been exposed +to a different or eccentric vibration by the dominating +mute, and the full tonal vibration is not immediately +recoverable. It is as though you had put a man in +boots with leaden soles for a time, and then suddenly +freed him; he would not at once regain his full suppleness +of movement.</p> + +<p>Quite within the last thirty years the cult of chin-rests +has become almost universal. When I was a boy +people held the violin honestly under their chins, and<span class="pagenum" id="Page_160">[Pg 160]</span> +a few used a silk pocket handkerchief. I much prefer +it to this day; but something between the chin and +the violin is no doubt good for the protection of old +instruments already too much rubbed by centuries of +beards and bristles.</p> + +<p>I have nothing to say against the various velvet, +vulcanite, and ebony fixed substitutes for the homely +pocket-handkerchief, except that in my eyes they are +extremely ugly, and to my chin extremely uncomfortable; +but I may be very much out of date, and in such +minor matters “<i lang="fr">chacun à son goût</i>,” or, as Pepys +would say, “there’s an end on’t.”</p> +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> +<p><span class="pagenum" id="Page_161">[Pg 161]</span></p> + +<p class="center"> +CHAPTER XI</p> +</div> +<br> +<p class="center"> +VIOLIN BOWS</p> + + +<p>He who wields the violin bow aright wields the wand +of a magician. If ever mortal could call the spirits +from the vasty deep, it is the virtuoso who throws into +sympathetic vibrations the cords of a Cremona.</p> + +<p>The wood of his wand, from the forests of Fernambuc +or Pernambuco, choice and seasoned, and delicately +graduated and tapering, receives through the varying +pressure of his five fingers the waves of his personal +magnetism.</p> + +<p>The back of his thumb will often touch even the +hairs which are in direct contact with the strings, and +therefore the psychic and emotional vibrations of the +artist’s soul are wedded closely to the physical pulses +of sound which throb in the agitated air column of the +Cremona, and flow forth in the air waves (like light +and heat), filling space with their musical magnetism, +and seeking only the medium of kindred spirits and +suitable organisms to utter through the vibrating +human nerve tissues of others the open secrets of the +player’s soul.</p> + +<p>No Mesmer, or magician of the East, controls a more +subtle force than does the violinist, who, face to face<span class="pagenum" id="Page_162">[Pg 162]</span> +with his audience, lifts his tapering wand and rules +therewith the</p> + +<p class="center"> +“<em>Tides of music’s golden sea setting towards eternity.</em>”<br> +</p> + +<p>By those who indite exhaustive historical or constructive +treatises on the violin—the bow, like the +violin, has been treated archæologically—we have been +led up to ancient monuments and shown bows (or things +supposed to be bows) on vases, sculptured frescoes, +missals and other monkish manuscripts. We have +been sent out to wild islands and continents, and introduced +to the Ravanastron bow of ancient Ceylon; the +bow of the Moorish rebab; the ninth, eleventh, twelfth, +and thirteenth century viol bows of Europe—all more +or less primitive, with sometimes gut for hair, or hair +loose, hair limp, and with no means of regulating its +tension except by the introduction of the fingers to +press the hair or tighten it for a moment.</p> + +<p>In Paul Veronese’s Marriage at Cana (Versailles) this +is well shown. Paul himself was a viol player, and +apparently held his bow chiefly by the hair for this +same regulative purpose.</p> + +<p>C. Simpson (the division “viol”), 1667, gives a somewhat +more advanced viol bow, in which the hand splits +the difference between wood and hair and rests on +both (Fig. iii). Of course, when held to the chin, this +clumsy finger regulation of the hair tension would be +less convenient to manage, and hence we come upon +the eighteenth century with a strip of notched metal +(Fig. iv.) and a movable sliding nut.</p> + +<figure class="figcenter illowp52" id="i_162a" style="max-width: 68.75em;"> + <img class="w100" src="images/i_162a.jpg" alt="Sketchings of violins, bows."> + <figcaption class="caption"><p class="center">I<br> + Maggini, 1630 — Nic Amati, 1641 — Dolphin Strad, 1714 — Joseph Guarnerius, 1734</p> + <p class="center">II<br> + Corelli, 1700 — Cramer, 1770 — Viotti, 1780 — Tartini, 1740</p> + <p class="center">III<br> + Finger control, 17th cent.</p> + <p class="center">IV<br> + Cremabliere control, 18th cent.</p> + <p class="center">V<br> + Screw control 19th cent.:<br> + Paganini’s bow Tourte 29 inch ’34</p> + <p class="center">VI<br> + 19th cent.:<br> + Hair control.<br> + head. handle.</p></figcaption> +</figure> + + +<p><span class="pagenum" id="Page_163">[Pg 163]</span></p> + +<p>As for our purpose the violin proper began in the +eighteenth century with the emergence of its true type +from the viol tribe, so for our purpose the violin bow +begins with the emergence of the violin. A glance at +the bows of Corelli (1700), Cramer (1770), Viotti (1780), +and Tartini (1740) (Fig. vi.) will show the evolution in +the direction of the Tourte bow; and although Tourte +(1740) is generally credited with substituting the screw +for the crémaillère, it will be noticed that Corelli’s +bow (1700) has already got the screw. But is the +Corelli bow authentic, or in reality a bow subsequent +to 1740, the earliest working date of Tourte <i lang="fr">père</i>?</p> + +<p>With François Tourte, the younger son, culminated +the art of violin bow making. He is the Stradivari of +the bow. We give his portrait, but father and son +were both master-workers. Although the Stentor (Fig. +vi.) bow’s head has superseded, for some reason, the +more rounded form of François Tourte, nothing has been +done since in advance of Tourte, and “after Tourte” +is still the greatest recommendation a bow can have.</p> + +<p>It is easy to see what called forth François Tourte. +He came in answer to a need. He doubtless heard of +Tartini and examined his bow. It was comparatively +short and cumbrous. Forty years afterwards Viotti +comes to Paris, and with him dawns a new era in +violin playing. Refinements and delicacies of tone, +upper shifts and varieties of execution, various styles +of bowing, dealing with staccato, arpeggio, and rubato, +methods varied and brought to perfection, demanded +qualities of balance, lightness, and elasticity which<span class="pagenum" id="Page_164">[Pg 164]</span> +would have been quite thrown away on the old sawing +and scraping school of the seventeenth century. The +very Cremona violins, beginning to mature as the +century waned, called aloud for a suitable and sympathetic +companion to caress, excite, charm, draw +from them their sweetest tones and most vigorous +powers.</p> + +<p>François Tourte was rescued from the clock-making +business, to which he had been early apprenticed, by +the sheer bent of his own genius. His brother, who +worked with his father, was not the genius, and, as is +often the case, the father failed to see which of the +two sons was to carry on the fame of the house, and +there may have been jealousies and disputes besides. +The poor stuff given François to work upon when, +after eight years of watch-making, he was allowed to +enter the parental workshop a little, suggests that he +was the male Cinderella of the family.</p> + +<p>He had to deal with strips of old sugar-barrels and +fashion them into bows, which he sold for about fifteen-pence +each. But as soon as he got a free hand he experimented +with all kinds of wood, and arrived at the +conclusion that the only wood suitable for his purpose +was Fernambuc wood. It combined stiffness and lightness, +but was very difficult to obtain, on account of so +many ports being in those disturbed times blockaded. +Fernambuc wood was only imported for dyeing purposes, +and the price had risen in Paris to five francs a +pound. Then, as only pieces with straight grain were +required, whole trees might be cut up in search of a<span class="pagenum" id="Page_165">[Pg 165]</span> +few likely strips. This accounts for the high prices +of Tourte bows, even when first produced.</p> + +<p>They were doubtless largely labours of love with this +matchless artificer, who could neither read nor write. +The nut would be often made of tortoise-shell, jewelled +with mother-of-pearl, and gleaming with a gold screw +button. These cost £12, and would now fetch, if ever +they came into the open market, fancy prices. His +bows, mounted in silver with ebon nuts, sold for three +guineas, and now fetch £30.</p> + +<p>Tourte <i lang="fr">père</i> originated the backward bend of the +bow, which is not cut but artificially bent by heat; but +both the father’s and the eldest son’s bows are held to +be now too short for the strain of execution put upon +them by modern players—not so François Tourte’s, +and all bows made “after Tourte.”</p> + +<p>He fixed the proportions—length, between 29·134 +inches and 29·528 inches. The weight of the bend is +nicely poised with the gold, tortoise-shell, or ebon of +the nut; in each is a small wedge, as may be seen in +Fig. viii., which nips the hairs and keeps them flat. The +fine selection of hairs, 150 to 200 (modern exigencies +require more, or up to 250), the careful flattening of it +out, the preference for live hair, or hair combed out +and not taken from dead horses who may have lain +some time in the shambles; above all, the exquisitely +graduated thicknesses, now held to be <i lang="fr">de rigueur</i>, all +characterise the intuitive genius of Tourte.</p> + +<p>I say advisedly “intuitive genius,” for Tourte had +no education but that of a watch-maker. This may,<span class="pagenum" id="Page_166">[Pg 166]</span> +indeed, have given him his fine sense of delicate and +exact proportions, but it is still remarkable that examinations +of the diameter of Tourte bows in different +places give uniform results. The bows swell or taper +in the same place, and as the air columns in the violins +of Strad give the same note, so do the bows of Tourte +yield the same proportions, which it has not been found +safe or expedient to depart from.</p> + +<p>Violin bows may be smaller or larger, <em>i.e.</em> shorter +or longer, as far as I can see, without any detriment +to Tourte’s principle; children, women, and exceptionally +long armed men may have to use them, +but the proportions, the wood, the balance, even +the mechanique, must be left as Tourte left them—perfect.</p> + +<p>The one point in mechanique in which the invention +of F. B. Vuillaume may be thought to have improved +upon Tourte is in his fixed nut for viola, tenor, or +violoncello bows. This consists of a metal nut, which +alone is moved by the screw up and down inside the +main nut, which remains rigid; thus the length of the +hair exposed for playing always remains the same.</p> + +<p>The only other original maker of the first rank and +excellence, who has been nicknamed the English Tourte, +was John Dodd. He was born in 1752, and lived chiefly +at Kew, and there he was buried. He was always out +at elbows, even when his reputation was at its height. +Poor Dodd had his friends and admirers. He was his +own worst enemy; he was undersized in stature, and +walked with a shuffling gait. He wore his clothes until<span class="pagenum" id="Page_167">[Pg 167]</span> +they were in rags, and a broad-brimmed hat somehow +gave him an additionally dilapidated air.</p> + +<p>I am afraid he drank, for although his habits were +said to be regular, the most regular of them all was +his four daily visits to the public-house, where he +consumed what to less experienced topers seemed an +immoderate quantity of a drink called “pearl.”</p> + +<p>When the old fellow was known to be excessively +hard up, kind Mr Richard Platt, a musical professor +of the town, and Dr Sellé, who has given us some of +the above details, came to the rescue. But the bow-maker +tired them all out, and ended at last in the +Richmond Workhouse.</p> + +<p>I will not say whether he can be exactly cited as a +frightful example of the degrading effects of liquor, +for he died of bronchitis at the altogether respectable +age of eighty-four.</p> + +<p>Indeed, he had his qualities; no bribe or stress of +want could make him swerve from his sense of what +was due to his art.</p> + +<p>His wood is as magnificent as his workmanship. He +doubtless had his secret, but it was possibly one that +he could not impart. He would take no apprentice, +for fear he should learn the trick; and whether he +could or could not teach it, he refused £1000 offered +him by some one who wanted to learn it. Dodd’s bows +are not very uncommon; he died only in 1836, and, +strange to say, these true musical wands do not run +into a five-pound note yet (1898).</p> + +<p>John Dodd the bow-maker must not be confounded<span class="pagenum" id="Page_168">[Pg 168]</span> +with Thomas Dodd the fiddle dealer and varnisher, +who employed Fendt and Lott to make the fiddles. +John Dodd the bow-maker was the brother of Thomas +Dodd. John lived in Blue Bell Alley, Mint Street, +Southwark, before he went to Kew, but the rustic +suburbs suited his habits, and as he had acquired a +European reputation before he died, it little mattered +where he lived.</p> + +<p>Vuillaume of Paris made excellent bows, and even +founded a school of bow-making. Many bows that +don’t sell as his are stamped “d’après Vuillaume,” +“scuola de,” which is certainly more respectable than +a forged label to which violin dealers do so commonly +resort.</p> + +<p>Vuillaume’s hollow steel bows have never “caught +on,” though good players have used them now and +again. But then a good player can use any bow, +and whilst a good bow is a luxury, a real violinist will +be able to perform very respectably with a bad one. +It is said that Paganini on one occasion excited the +wonder and enthusiasm of his audience by performing +on his instrument with a long churchwarden clay pipe, +and at another time with a rush!</p> + +<p>It would be unfair even in a sketch like this, which +only professes to seize the salient point of general +interest to collectors and amateurs, not to mention +Jacques Lafleur (1760-1832), an admirable imitator +of Tourte.</p> + +<p>Lupôt, brother of the great violin-maker (1774-1837), +was the first to line with metal the groove in the underside<span class="pagenum" id="Page_169">[Pg 169]</span> +of the nut, to prevent wear and tear of the ebony +or tortoise-shell.</p> + +<p>Domminique Peccate (1810-74) is also thought to +have almost rivalled Tourte. He was originally a barber, +and transferred the delicacy of hand required in tonsorial +operations to the fine adjustments and elegant +tapering and octagonal proportions of violin bows.</p> + +<p>Peccate went to Vuillaume in 1826, stayed with +him eleven years, and then became foreman to François +Lupôt. He ended his life at Mirecourt, where he +began it; latterly he worked entirely on his own +account.</p> + +<p>We have now among us one James Tubbs, whose +bows are already known throughout the world owing +to their attractive appearance and good balance. Time +will alone decide Tubbs’ position in the scale of bow-makers, +for time alone will determine the question +of “last,” “warp,” and flexibility, and general endurance +of efficiency.</p> + +<p>On rosin, about which pages have been unnecessarily +written, I have but one word to say—get it pure. +You can do this by confining yourself to the best +shops, or those who deal with them. Go to Hill, +Chanot, Hart, Withers, and Vuillaume.</p> + +<p>Some ignorant people talk of rosin as “greasing +the bow.” Smooth horsehair or greased horsehair is, +of course, useless. It is not the absence but the presence +of friction which sets the strings in vibration; +it is the surface of the horsehair, roughened by infinitesimal +particles of rosin, which prevents the horsehair<span class="pagenum" id="Page_170">[Pg 170]</span> +touching the string with a continuous pressure, +so that it receives in reality a succession of tiny shocks. +This is what renders the succession of vibrations so +rapid as to sound continuous.</p> + +<p>Without rosin, the violin, in spite of strings and +bow, and the art of all Cremona, would be mute.</p> + +<p>To average rosiners let me give a word of advice, +early given me by my old master, Ouri, pupil of Frank +Mori: “Don’t rub the horsehair down smooth with +long sweeps, but powder the rosin off into the hair +with quick rubs and a light hand; in this way you +avoid rubbing the oleaginous particles of the gum +into stickiness.”</p> + +<p>I notice that the best players use plenty of rosin +and never let the bow get thirsty. I remember the +matchless violinist Remenye taking up my violin and +bow and calling aloud for rosin. “Why, you have +no rosin on; you cannot expect the violin to speak +without.” Yet I thought my bow had plenty of +rosin on, but it was not enough for Remenye, who +powdered it away in clouds. But please to remember +that, however thirsty the bow may be, the <em>violin</em> +does not require to drink, and the habit of smothering +and smearing its beautiful smooth belly with thin glutinous +dust is a most vile one, and worthy only of third-rate +second violins at fourth-rate music halls. These +musical galley-slaves may not have time to clean up; +you of the Stradivari and the Amati violins and the +Tourte and the Dodd bows <em>ought</em> to have, or you +are no fit guardian of such treasures.</p> +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> +<p><span class="pagenum" id="Page_171">[Pg 171]</span></p> + +<p class="center"> +CHAPTER XII</p> +</div> +<br> +<p class="center"> +VIOLIN TARISIO</p> + + +<p>This extraordinary man, originally an obscure Italian +carpenter, at once created and answered that demand +for Italian violins which followed both in England, +and to a great extent in France, the rage for the +German, and especially German of the Stainer and +Klotz pattern.</p> + +<p>Luigi Tarisio, like W. Forster, eked out the scanty +income which he derived from making tables and +benches for the peasants by playing dance music on +a very poor fiddle at village routs.</p> + +<p>He wandered from place to place, what time the +vintages were being gathered in, and the simple folk, +who turned out in their Sunday finery for a little relaxation +and merriment, doubtless regaled the Italian +carpenter with open-hearted hospitality, whilst he, in +return, mended their benches and fiddled for them at +the vineyard cabarets.</p> + +<p>Our Charles Mathews has given in his delightful +autobiography interesting glimpses of that free, open-air, +open-hearted life; for he also, for a time, lived +amongst these rustics of a favoured clime, enjoying +their simple pleasures, and contributing in his own<span class="pagenum" id="Page_172">[Pg 172]</span> +peculiar way, by his histrionic gifts and a somewhat +free-handed distribution of coin, to their revels and +their needs.</p> + +<p>Luigi Tarisio soon began to be dominated by the +spell of his violin; he got to notice other violins, to +repair them all in the way of trade, to possess them, +not always very honestly, pitting his own growing +knowledge of their merits against the ignorance or +necessity of their owners. Gradually Tarisio the carpenter +and Tarisio the fiddler seemed to be merged +in Tarisio the cunning repairer and Tarisio the still +more knowing buyer.</p> + +<p>He bought chiefly by exchange, for money he had +little or none; but he began in the early years of +this nineteenth century to lead that nomad life—as +it seemed to outsiders, the life of a common pedlar—which +enabled him to glide without suspicion into +half the sacristies and convents in Italy.</p> + +<p>Wherever he went, bag on shoulder, and basket of +tools in hand, his cry was not “knives to grind,” nor +“shoes to mend,” but “violins to repair.”</p> + +<p>He usually had with him a decoy violin or two, in +the shape of common fiddles in good playing order; +and over a glass of lemonade or a bottle of wine, in +some local café or monasterial domicile of priest or +cathedral musician, the cunning Tarisio would view +with unaffected pity the miserable old battered Cremonas +which were then lurking in a thousand ecclesiastical +nooks, split as with the “wolf,” ill-adjusted, +ill-strung, and generally out of sorts, and whipping out<span class="pagenum" id="Page_173">[Pg 173]</span> +his common fiddle in perfect order, would play a few +notes on each, so manifestly to the disadvantage of +the Cremona that an exchange was soon effected, and +Tarisio would decamp with an Amati, a Strad, a Joseph +or Bergonzi treasure, which, after a little clever mending, +might be worth a fortune; and in this way he +possessed himself, often for a few francs, of instruments +which now fetch over £1000 in the open market—if +ever they get there.</p> + +<p>Tarisio, with the infallible instinct of a born collector +and connoisseur, in a few years was able to gauge +accurately the merits of the different great Italian +makers. He knew exactly where to rank the Amatis, +and how to separate the qualities of the great Nicolo +from those of Andrea; he understood the supreme +excellence of Antonio and the power of Giuseppe, and +all other grades of merit of which even the admirers +of the Cremona school in England seemed entirely +ignorant of. All Amatis at that time were lumped +together, and Stradivari and Giuseppe Guarneri were +hardly known at all.</p> + +<p>But Tarisio knew all this, and a good deal more, +before he tossed his heavy bag of old violins one day +over his shoulder and set out, they say, on foot, or +anyhow else he could, for Paris; for what market +was there in Italy for such priceless Cremonas when +their owners were prepared to give them up for fiddles +worth from five to twenty shillings?</p> + +<p>But why did Tarisio go to Paris? He probably +judged wisely that the Stainer craze, and the huge<span class="pagenum" id="Page_174">[Pg 174]</span> +crop of common violins then being made in Germany, +would have killed his market nearer home. Then he +must have heard when a boy how Napoleon I. had +ransacked the art treasures of Italy, and how, under +the advice of the cultivated Marquis d’Avèze, who +had narrowly enough escaped the guillotine in 1793, +the great conqueror had inaugurated a high Art +Exhibition for the people.</p> + +<p>The famous bronze-gilt horses from S. Marco, Venice, +the Dying Gladiator, the Apollo Belvedere, the Cupid +and Psyche from Rome, and Raffaello’s Transfiguration +itself, had been carried in triumphant procession +through the streets of Paris, and installed in a vast +hall for the benefit and instruction of the people. Of +course a rage for everything Italian was the result, and +the shrewd Tarisio may have thought, why not a rage +for old Italian fiddles?</p> + +<p>One day in the year 1827 there arrived at the shop +of M. Aldric, at that time a famous violin dealer in +Paris, a travel-worn man in ragged clothes, who had +begged and fiddled his way for days and weeks across +country. He carried a huge dustman’s sack over his +shoulder. He seemed to M. Aldric a very poor sort +of pedlar, grimy and unkempt enough to claim kinship +with the man who had “used somebody’s soap sixteen +years ago, since when he had used no other.”</p> + +<p>The fashionable violin dealer was at first inclined to +show him the door, but probably something in Tarisio’s +independent manner betrayed that indefinable quality +we call character, and, more in amusement or out of<span class="pagenum" id="Page_175">[Pg 175]</span> +pity than with any serious intent to make a deal, M. +Aldric allowed the pedlar to empty his sack of fiddles +on his counter. It is easy to imagine his astonishment +at what he saw; but he seems to have kept up his indifferent +manner, not supposing the poor creature before +him could be in the least aware of the treasures he +sought to dispose of.</p> + +<p>M. Aldric was soon undeceived.</p> + +<p>He quickly found the tables turned upon him.</p> + +<p>The clever French tradesman was conversing with the +greatest violin connoisseur that the world has ever seen, +or in all human probability ever will see, for no one can +ever again have Tarisio’s opportunities, even should he +unite in himself Tarisio’s extraordinary qualities.</p> + +<p>Now, the pedlar, with all his enthusiasm and self-sacrifice, +was a man of exceeding cunning, and had that +tact, quickness, affability, and bonhomie which is well +known to tourists in Italy, and has often proved so +fatal to the amateur of old laces, pottery, and objects +de vertu, or to such as may have tried to do a little +fancy collecting as they passed through the Italian +towns, and haggled over bargains in small curiosity-shops +and market-places. So, with due astuteness, the +shrewd carpenter had not brought his <em>best</em> wares on +this his first visit; he had come on a voyage of discovery, +and only produced a small pattern Nicolo +Amati, and half a dozen Maggini, Ruggerii, and such-like. +He had with him no Strad, no Joseph, not even +a grand pattern Nicolo, but he had brought enough.</p> + +<p>M. Aldric, concealing his emotion, and fervently<span class="pagenum" id="Page_176">[Pg 176]</span> +hoping the shabby man did not know the value of +his wares, offered him a small sum for the lot, which +Tarisio refused, doubtless with those picturesque invocations +of horror to the Virgin and all the Saints +which seem necessary to the Italian who attempts to +convey to a “screw” the mingled indignation and pity +excited in his generous and artistic breast by a mean +offer.</p> + +<p>Tarisio was certainly disappointed; but he forgot +that he himself had to <em>create</em> the market; and so at +last he left, with his empty bag indeed, but with his +ragged pockets far from full.</p> + +<p>Back to Italy, back to his monasteries and cabarets, +a little dazzled; but, with unabated energy, he recommenced +his search.</p> + +<p>He was now beginning to be known far and wide as +a clever repairer and a convenient dealer. As his stock +of good, bad, and indifferent fiddles increased he could +offer a greater selection, and readily parted with the +worst ones, nicely done up, to his ignorant and confiding +but not over-wealthy Italian patrons.</p> + +<p>When next he journeyed to Paris he met with a different +reception. Vuillaume, Thibaut, and Chanot the +elder opened their privileged doors to him, and especially +Vuillaume had the acumen to see that in Tarisio +he had lighted upon what gold-diggers call a veritable +“pocket,” and gave him higher and higher prices for the +harvest of Amatis, Strads, Guarneri, and Bergonzis which +now flowed steadily into Paris through this odd medium.</p> + +<p>Tarisio was far more than a connoisseur and dealer;<span class="pagenum" id="Page_177">[Pg 177]</span> +he was a singular and most whole-hearted enthusiast. +As the novelist Charles Reade (who was himself a great +fiddle dealer and knew Tarisio) has well said, “The +man’s whole soul was in his fiddles. He was a great +dealer, but a greater amateur. He had gems by him +which no money would buy from him.” Mr Reade +then goes on to relate how once, when a splendid +equipage rolled by him in Paris, the carpenter remarked, +“He would sooner possess one Strad than +twenty such carriages.” He would stalk the back +or the belly of a valuable fiddle until he recovered +the whole, just as the Roman antiquary stalked the +fragments of the Hercules Farnese, finding the trunk +in one place and the head in a ditch miles away.</p> + +<p>Chanot had stumbled upon the cracked belly of a +Strad violin in Spain. Ortega, the fiddle-maker, had +sold the remainder, ribs and back, to a Spanish lady, +fitting them nicely with a brand-new back made by +himself! The precious belly caught Tarisio’s eye in +the shop window, and he at last worried Chanot into +parting with it for 1000 francs. Off went Tarisio to +Madrid, extracted from the bewildered Ortega, who +had sold the patched Strad, the required information, +interviewed the donna who possessed the patched +Strad, and who, after the fashion of the high-born +Spaniard, at once said, “Sir, the instrument is at your +disposition,” which only meant that she would part +with it for a consideration, or what she considered +to be the good round sum of 4000 francs. This was +a mere bagatelle for such a treasure, which, refitted<span class="pagenum" id="Page_178">[Pg 178]</span> +with its own belly by Vuillaume, is now known as the +Spanish Bass.</p> + +<p>It was sold for £800, and exhibited in the south +Kensington Collection of 1872 (No. 188).</p> + +<p>On one occasion, says Charles Reade, Tarisio was +crossing the Bay of Biscay with his famous Spanish +Bass. The ship rolled; Tarisio clasped his treasure +tightly and trembled. It was a terrible gale, and for +one whole day they were in real danger. “Tarisio spoke +of it to me,” continues his friend, “with a shudder. +‘Ah! my poor Mr Reade,’ he exclaimed, ‘the Bass +of Spain was all but lost!’” As to Tarisio also being +lost, that did not seem to matter so much!</p> + +<p>It is not too much to say that, with hardly a +memorable exception, all the great Cremonese and +Brescian fiddles, which now command such <i lang="fr">prix fous</i>, +have passed through the cunning hands of Luigi +Tarisio the pedlar, and most of them have at one +time been benefited by the tender and artistic skill +of Vuillaume, his great patron.</p> + +<p>When Tarisio, who by this time wore a decent +coat, and no longer carried Cremonas in a sack on +his back, visited England in 1851, he was received by +the whole trade as a person of rare quality, as indeed +he was.</p> + +<p>Mr John Hart took him to see Mr Goding’s unique +collection. As one by one the owner took his treasures +out of a glass cabinet, before ever he had got within +two paces of Tarisio, he was amazed at hearing their +names called out. A glance was sufficient. Tarisio had<span class="pagenum" id="Page_179">[Pg 179]</span> +had them all through his hands—the “King” Guarnerius, +Lafont’s Guarnerius, the matchless Bergonzi, +the Marquis de la Rosa’s Amati, Ole Bull’s Guarnerius, +the famous Serafino ’cello, called the Beauty—all of +which might never have reached Mr Goding had it +not been for the enterprise and indomitable energy of +the Italian carpenter who now stood before him.</p> + +<p>Barring a narrow circle of dealers, it may seem +strange that so remarkable a man should not have +been more widely known and esteemed during his lifetime; +but we can well understand that the restricted +circle of dealers amongst whom he moved, did not +find it to their interest to place their special Cremona +“pocket” within reach of the wealthy amateurs out of +whom they themselves were busy making their market.</p> + +<p>Tarisio, had he been dealer first and enthusiast +second, might have done better financially; but he did +not do badly, and he wanted little except the privilege +of handling Cremonas to the end of his life and dying +in their good company.</p> + +<p>He did both. Although there was a strain of geniality +about Tarisio, he never seemed to unbend except +in the company of fellow-enthusiasts; and as he was +too cautious to give himself away to Italians, from +whom he was gradually securing the spoils which +built up his fortune, fame, and immortality, the +only people who really knew Tarisio were the few +foreigners like Vuillaume, the Chanots in France, +John Hart the dealer and Charles Reade the novelist +in England.</p> + +<p><span class="pagenum" id="Page_180">[Pg 180]</span></p> + +<p>In his own land he remained to the end nothing but +the quiet, unobtrusive repairer and occasional dealer in +dilapidated fiddles.</p> + +<p>It seems he had removed to Milan, where he was +quite safely hidden, along with his fiddles, up in an +attic at the top of a second-class restaurant in the Via +Legnano Porta Tegnaglia.</p> + +<p>No one was ever allowed to enter his room. He +locked himself in, and he locked himself out. They +saw him going up and down the staircase, and that is +all they saw of him.</p> + +<p>One day in 1854 Tarisio dragged himself up those +stairs for the last time. Whether he had any premonition +of his end, none may know—certainly no one +was with him when he died—only it was noticed that +he locked himself in, but came out no more; nor +had he gone down to the restaurant for any of the +necessaries of life.</p> + +<p>At last the neighbours thought it time to ascertain +what was taking place in that mysterious attic. They +seemed to have watched his strange movements closely, +but their efforts to find out who he was and how he lived +had been hitherto fruitless, as he made a point of carrying +on his particular and nomadic business at a distance +from his abode. They were not going to be baulked +any longer, so they knocked, but there was no answer.</p> + +<p>At last they broke open the door, and a strange and +piteous sight burst upon them. There, on a squalid +couch, lay the pedlar, quite dead.</p> + +<p>Around him all seemed chaos—piles of fiddle-boxes,<span class="pagenum" id="Page_181">[Pg 181]</span> +fiddles in and out of cases, tenors, ’cellos, violins in +pieces and violins whole. Half a dozen Strads there; +a Gasparo (afterwards Mr Bennett’s), a Ruggieri (Mr +T. R. Bradson’s); about a hundred Italian fiddles, by +different makers.</p> + +<p>Here, too, was found the “Messie” or “Messiah.”</p> + +<p>These trophies created little enthusiasm at the time, +but to the joy of the relatives, two nephews, who had +been hunted up with difficulty by the municipal authorities, +a sealed packet was found containing valuable +securities and a considerable amount of gold.</p> + +<p>The rest is matter of common history.</p> + +<p>The instant his friend and patron Vuillaume heard +of the magician’s death he hurried to Milan, and visited +the nephews at their farmhouse.</p> + +<p>“Where are the fiddles?”</p> + +<p>“At Milan; but we have six here.”</p> + +<p>On the spot Vuillaume opened the cases. The first +contained a splendid Strad, the second a Joseph del +Gesù, the third a Carlo Bergonzi, the fourth and fifth +two Guadagninis, and the last the famous Messiah, +preserved by Count Cozio de Salabue, intact until +1824, when it was bought by Tarisio.</p> + +<p>Vuillaume came to terms with the nephews for these +six, and then lost not a moment in visiting the famous +attic at Milan, where he found 246 more, which he +bought at once for £3166, leaving the astonished heirs +no doubt laughing in their sleeves, under the impression +that the <i lang="fr">gobe-mouche</i> of a Frenchman had been nicely +hi-diddle-diddled by the wily Italians.</p> + +<p><span class="pagenum" id="Page_182">[Pg 182]</span></p> + +<p>When we remember that a couple only of these gems +would realise now more than the sum Vuillaume paid +for the lot, we may well remember the proverb, “He +laughs best who laughs last.”</p> + + +<p><span class="smcap">A Vignette of Paganini.</span></p> + +<p>I have advisedly steered clear in this collector’s +volume of violin-players and violin-music, excepting +in so far as they acted or reacted in any way upon the +violin and its progress towards perfection. From this +point of view, the growth of music appears to be responsible +for the definition and survival (as the fittest) +of the violin, violoncello, and double bass; and virtuosity +is certainly responsible for the lengthening of the +violin-neck and finger-board, the strengthening of the +sound-bar to resist an increased string-tension, and +the lengthening of the bow. But virtuosity can claim +nothing more than these trifling details. The Strad +pattern of 1684 to 1700 has remained completely +unaffected by the feats, vagaries, or demands of +soloists.</p> + +<p>In this the grand pattern violin stands out in sharp +and singular contrast to the old grand pianoforte. The +imperious demands of Liszt and Thalberg, Rubinstein +and his followers, have compelled a series of improvements +in strength, sonority, delicate mechanism, and +sensibility, undreamed of by the old firms, and only +perfected by the later Erards, Broadwoods, Collards, +and Steinways. But not a single substantial improvement +<span class="pagenum" id="Page_183">[Pg 183]</span>has been made in the violin since the last one left +the hand of the great Antonio at Cremona, and not +even a trifling modification of any sort has been adopted +or applied to the grand violin of the golden period for +at least a century. The excuse then for introducing +the name and portrait of Paganini into this book is +not because he reacted in the least degree upon the +art of violin-making, but because he accepted it as an +absolutely finished art, and asked for nothing which +he found not in Strad and Joseph.</p> + +<figure class="figcenter illowp55" id="i_182a" style="max-width: 62.5em;"> + <img class="w100" src="images/i_182a.jpg" alt="Portrait of Nicolo Paganini"> + <figcaption class="caption"><p class="center">NICOLO PAGANINI</p></figcaption> +</figure> + +<p>Now this is important and interesting, because +Paganini was the greatest of all players in this culminating +century of the musical art—a man admittedly +unsurpassed in the opinion of violin experts like John +Ella, Cipriani Potter, Onry, and others, who, for forty +years after his death, listened to all the phenomenal +violinists of an age which boasts of Ernst, Joachim, +Wieinawski, and Sarasate and Ysaye. As it has not +been possible to produce the face and figure of any of +these great old makers, with the one exception of Lupôt, +who belongs at best to the silver age, I have thought +it worth while to glorify their work by reproducing the +grand though eccentric face and figure of the one man +who has invested their <i lang="fr">chef-d’œuvres</i> with that romantic +glamour, that almost unearthly prestige which the violin +alone amongst instruments can lay claim to.</p> + +<p>Paganini’s favourite violin, a Joseph Guarnerius, lies +in its case under glass to this hour, open for all eyes +to inspect, in the Town Hall at Genoa, his native town, +to which he has bequeathed it. His dying directions,<span class="pagenum" id="Page_184">[Pg 184]</span> +that no one should ever play upon it, recall Shakespeare’s +curse upon those who should move his bones. +The great musician’s orders have not been quite so +scrupulously observed as those of the immortal bard +of Avon. In “My Musical Life” will be found my +“Homage à Paganini,” together with a woodcut of +Danton’s very fine bust, given to me by John Ella, +who played in the orchestra among the violins when +first Paganini visited England.</p> + +<p>Nothing is so ephemeral as the fame of an orator, +actor, or musician, unless they leave books or music +behind them. Henceforth the phonograph may do +something to give future generations some idea of the +fascination which lived and died with them; but no +phonograph will ever give us even a faint echo of +Siddons’ declamation or Paganini’s playing; these are +alike buried with the generation which they charmed +and electrified. But in Leigh Hunt’s description of +Paganini’s performance we have something like a pictorial +phonograph, if I may hazard the hibernianism, of +the “Pale Musician’s” mighty personality and power. +Somewhere between the forties and fifties, I remember, +as a very young boy, standing awestruck before a thin, +gaunt, dislocated wax effigy of Paganini in an ill-fitting +dresscoat, with wild dreamy eyes and arm uplifted high—just +as Leigh Hunt describes him—before his bow +came down like a crash of thunder on the strings; but +let the lively and graphic essayist who heard him, speak +for himself:—</p> + +<p>“Paganini, the first time I saw and heard him, and the<span class="pagenum" id="Page_185">[Pg 185]</span> +first time he struck a note, seemed literally to strike it, to +give it a blow. The house was so crammed that, being +among the squeezers in the standing-room at the side of +the pit, I happened to catch the first glance of his face, +through the arm akimbo of a man who was perched up +before me, which made a kind of frame for it; and there, +on the stage in that frame, as through a perspective glass, +were the face bent and the raised hand of the wonderful +musician, with the instrument at his chin, just going to +commence, and looking exactly as I described him—</p> + +<div class="poetry-container"> +<div class="poetry"> + <div class="stanza"> + <div class="verse indent22">—‘His hand,</div> + <div class="verse indent0">Loading the air with dumb expectancy,</div> + <div class="verse indent0">Suspending ere it fell a nation’s breath,</div> + <div class="verse indent0">He smote, and clinging to the serious chords,</div> + <div class="verse indent0">With godlike ravishment drew forth a breath</div> + <div class="verse indent0">So deep, so strong, so fervid thick with love,</div> + <div class="verse indent0">Blissful yet laden as with twenty prayers,</div> + <div class="verse indent0">That Juno yearned with no diviner soul</div> + <div class="verse indent0">To the first burthen of the lips of Jove.</div> + <div class="verse indent0">Th’ exceeding mystery of the loveliness</div> + <div class="verse indent0">Sadden’d delight, and with his mournful look</div> + <div class="verse indent0">Dreary and gaunt, hanging his pallid face</div> + <div class="verse indent0">’Twixt his dark flowing locks, he almost seem’d</div> + <div class="verse indent0">Too feeble, or to melancholy eyes</div> + <div class="verse indent0">One that has parted with his soul for pride</div> + <div class="verse indent0">And in the sable secret lived forlorn.’</div> + </div> +</div> +</div> + +<p>To show the depth and identicalness of the impression +which he made upon everybody, foreign or native, an +Italian, who stood near me, said to himself after a sigh, +‘<i lang="it">O Dio!</i>’ and this had not been said long when another +person in the same manner exclaimed, ‘<em>O Christ!</em>’ +Musicians pressed forward from behind the scenes to +get as close to him as possible, and they could not +sleep at night for thinking of him.”</p> +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> +<p><span class="pagenum" id="Page_186">[Pg 186]</span></p> + +<p class="center"> +CHAPTER XIII</p> +</div> +<br> +<p class="center"> +VIOLINS AT MIRECOURT, MITTENWALD, +AND MARKNEUKIRCHEN</p> + + +<p><span class="smcap">Mirecourt</span></p> + +<p>Mirecourt in Lorraine has the glory of being associated +from so early a date as 1566 with the Cremona +workshops.</p> + +<p>Andrew Amati, who made six small fiddles for +Charles IX. about that time, employed Nicolas Renauld +of Nancy, who was a pupil of the celebrated +Mirecourt lutist Tywersus, to assist him in finishing +these important court orders, which did so much to +establish the supremacy of the “petit violon” over +the crowd of competing viols which then held the +popular ear, and, as we have seen, died very hard.</p> + +<p>The great princes of Lorraine occupied a castle of +pleasure called Ravenel, at a short distance from +Mirecourt.</p> + +<p>These accomplished noblemen, touched with Florentine +culture, often made excursions into Lombardy, +and delighted in the refinements of the Italian princedoms +and duchies.</p> + +<p>They brought back with them pictures, ironwork, +laces, musical instruments.</p> + +<p><span class="pagenum" id="Page_187">[Pg 187]</span></p> + +<p>Tywersus, their private lute-maker, was deeply influenced +by the work and models of the early Amatis, +and from the school of Tywersus came Nicolas Renauld, +Jean Medard, and Nicolas Medard. When +Amati left Paris, whither he had gone to present his +violins in person to Charles IX., he left behind him +Nicolas Renauld, who slipped into the lucrative post +of luthier to his French Majesty, and we find his +friend and co-worker Medard installed in the same +fat office under the Grand Monarque, Louis XIV., +who, with his expensive mistresses, certainly spared no +money or patronage to secure those who could in any +way minister to the extravagant court pomp and artistic +amusements of the Pompadour and the Petit Trianon.</p> + +<p>Meanwhile Mirecourt, in the heart of the Vosges +mountains, with easy access to the grand timbers of +their ancient forests, within beck and call of Lombardy, +and in close touch with the great Italian fiddle-makers, +Mirecourt long held supremacy as one of, if +not the most important mart of fiddle manufacture.</p> + +<p>It shared with Mittenwald and Markneukirchen +the honour of supplying that rapidly growing violin +market which was now springing up, and whilst +Cremona made largely for home consumption and a +few foreign courts, Mirecourt undertook the more +modest but equally useful duty of multiplying Cremona +school violins, which circulated far and wide throughout +the French provinces, and frequently reached our own +shores; indeed the fiddles often passed for Cremonas.</p> + +<p>The popularity of these Cremona replicas brought<span class="pagenum" id="Page_188">[Pg 188]</span> +on that inevitable deterioration in quality which always +follows over-rapid production and cheap wares, and +at one time Mirecourt, in spite of its elaborate industry, +was fast becoming a byword for bad fiddles. +Happily the danger was seen and speedily checked, and +Mirecourt now stands out as perhaps the greatest and +most excellent emporium of modern violin manufacture.</p> + +<p>All who wish to know what can be known, go to Mirecourt, +just as people who study art go to Rome and +Florence, or people who study the fashions go to Paris.</p> + +<p>To Mirecourt we owe Rambaux, who was born there +in 1802 and died there only in 1870.</p> + +<p>Francis and George Chanot both came from there.</p> + +<p>The Lupôt family are claimed as natives of Mirecourt, +although the greatest of them, Nicolas, whose +violins run some of the finest specimens of Cremona +very hard, was a native of Stuttgard. His father was +a Frenchman, and came from Mirecourt. All his traditions +belong to Mirecourt, and these, as we all know, +he carried with him to Paris, where he died in 1824, +and was succeeded by Gand.</p> + +<p>The names of Maucotel, Medard, Menegand, Silvestre, +and Deragay, and above all Vuillaume, must +always shed an imperishable lustre upon the little town +in the Vosges mountains.</p> + +<p>Every one of the Vuillaumes, eight in number, including +the immortal Jean Baptiste, were born at +Mirecourt. Two settled at Brussels, three at Paris, +but all the others lived and died at Mirecourt.</p> + +<p>William Ebsworth Hill was careful to send his sons<span class="pagenum" id="Page_189">[Pg 189]</span> +to this celebrated school of violin art, and we may +be sure that they did not come away until they had +possessed themselves of everything that Mirecourt had +to teach the violin maker or the connoisseur.</p> + +<p>M. Thibouville Lamy of Mirecourt, who has trade +branches in Paris and London, manufactures a violin +at about 3s. 10d. cost price, selling at about 4s. 6d.; +but Markneukirchen probably leads in cheapness and +quantity, if not quality, turning out quite playable +fiddles for the modest figure of £1 to £2, 10s.</p> + +<p>The best Mirecourt fiddles will fetch from £6 to £10.</p> + +<p>The Grand and Bemardel prices range from £16 to +£20.</p> + +<p>The ever-increasing demands for “trade fiddles” of +all kinds, as distinguished from the solo violins reserved +for the use of virtuosi, has called forth an abundance +of fair makers beyond the limits of Mirecourt, Mittenwald, +and Markneukirchen.</p> + +<p>In England it is enough to mention such names as +Hill & Sons; Duncan of Glasgow; the Chanots, London +and Manchester; the late Furber, London; in Paris, +Bernardel, Silvestre, Germain, Audinot, and Chardon; +in Vienna, Zach, Bittner, Lembök, Voigt, Guttermann, +Rampfler; in Munich, Sprenger; in Frankfort-on-Maine, +Lenk; in Breslau, Liebich; in Brussels, Darche; +in Lille, Hel; in Milan, Marchetti; in Turin, Bros. +Guadagnini; in Cremona, Ceruti; and for further +general information the reader may consult the tolerably +exhaustive catalogue index of makers at the end +of this volume, for the bulk of which I am indebted<span class="pagenum" id="Page_190">[Pg 190]</span> +to the studious and admirable labours of Miss Stainer. +Her booklet is entitled “Violin Makers,” and it forms +one of the music primers of an educational series +issued by Novello & Co.</p> + + +<p><span class="smcap">Mittenwald.</span></p> + +<p>In old days Mittenwald, quaintest of Bavarian +towns, with its frescoed houses and its picturesque +river-side, for it is on the banks of the dear Isar, overshadowed +by the Wetterstein and Kurwändel mountains, +was a town of considerable importance from very early +days as the halting-place for the Romans on their way +to the Danube.</p> + +<p>It long retained its peculiar caravanserai character, +which resulted in the establishment of the handy mart +or Mittenwald fair, for which in more recent times the +place was chiefly famous. After the removal of the +fair to Bozen, the importance of Mittenwald began to +decline; trade and commerce suddenly seemed to have +made unto themselves wings, until one Matthias Klotz, +who in his boyhood is said to have been apprenticed +to no less a person than the great Nicolas Amati, +settled at Mittenwald, and wrote up outside his house: +“Matthias Klotz, Geigen Macher, im jahr 1684.” The +prime hazel and maple, to be found in the Wetterstein +hills, is of splendid quality, and the woods, then close +up to the town, were full of old trees.</p> + +<p>Thither, before the days of Matthias, was wont to +come a dreamy, ill-regulated sort of person, who excited<span class="pagenum" id="Page_191">[Pg 191]</span> +the curiosity, and perhaps ridicule, of the villagers by +tapping their trees with a hammer and then putting +his ear close to the wood to hear the sound.</p> + +<p>They thought he was mad, and he did go mad from +worry and want, but the sanest thing he ever did was +to tap those trees and listen to the sound.</p> + +<p>His name was Jacob Stainer.</p> + +<p>Matthias Klotz was only nineteen when he came to +Mittenwald, but by this time the Mittenwalders, who +had heard how the eccentric tramp with the hammer +had gone back to Absam and made the place famous +by his fiddles, were prepared to receive the young +workman with favour and hospitality, for they hoped +he might do something of the kind for Mittenwald.</p> + +<p>They were not mistaken. One year before Klotz +arrived at Mittenwald, Stainer had died incoherent +and insane at Absam, and now that the greatest of +German makers was dead, Mittenwald was soon destined +to become noted in its turn for its fiddles.</p> + +<p>It is generally affirmed that Klotz was a pupil of +Stainer. Certainly his relations with Nicolas Amati +are not very well defined. The probabilities are that +he was a pupil of both—in the sense of being familiar +with their work. The fact that his violins are sometimes +mistaken for Stainer, points to the strong Absam +influence which was upon him—it could hardly be +otherwise—whilst the tendency noticeable in the fiddles +of his son Sebastian, who certainly did visit Cremona, +to bring down the model flatter than was fashionable +at this time, indicates that the firm at all events<span class="pagenum" id="Page_192">[Pg 192]</span> +reflected the later Amati model of Nicolas, who died +the very year Klotz came to Mittenwald.</p> + +<p>Had Matthias or Sebastian Klotz attended to the +methods either of Stainer or Amati more carefully, +they would have observed that wood cut in spring with +the sap in it was not calculated to last like the drier +autumn timber. Whether from haste or ignorance, +the Klotz wood, especially that used by Matthias and +Sebastian, is sometimes found to be worm-eaten, but +Sebastian’s fiddles are much esteemed. His brothers, +George and Egidius, and his nephew, Joseph, son of +Egidius, all made fiddles of the same type—varnish +running from yellow to brown, and laid on rather +more lavishly than was the habit of Matthias, founder +of the firm.</p> + +<p>The Mittenwald industry, although now less prolific +than that of Markneukirchen, preceded it in point of +time, and undoubtedly it was through Bavarian Mittenwald +that the Cremona influence reached Saxony.</p> + +<p>Master Reiter, whose teacher was Johan Vauchel of +Wurzburg, is now the most prominent Mittenwald +maker, and Herr Neuner, who was a pupil of Vuillaume, +directs the school and factory. The school instructs +about twenty boys, and is under Government.</p> + +<p>Out of eighteen hundred Mittenwalders, three hundred +are fiddle-makers.</p> + +<p>The place provides from fifteen to twenty thousand +instruments per annum, including zithers and guitars. +I will not say that Herr Reiter, who is an artist versed +in the old secrets and the old enthusiasms, is personally<span class="pagenum" id="Page_193">[Pg 193]</span> +responsible for the “trade fiddles” that annually pour +from the Mittenwald workshops. He himself has +made comparatively few fiddles, but he supervises +them all, and remarked to a visitor the other day, +“I, Master Reiter, never let one go out of my hands +that has not been thoroughly tested, and I have sent +out into the world, to Russia, to America, Athens, +and where not, some two hundred violins and twenty-five +’cellos, besides having repaired some four hundred +others.”</p> + + +<p><span class="smcap">Markneukirchen.</span></p> + +<p>Quiet resting-places, secluded valleys of the Tyrol, +mountains of Saxony!—Mittenwald, Markneukirchen, +Mirecourt; sleepy Italian towns!—Brescia, Cremona, +once provincial villages like Mirecourt, far from the stir +of mighty cities!—such retreats seem to have been ever +favourable to the development of violin manufacture. +Something, too, of simple and almost <i lang="fr">naïve</i> religious +sentiment has entered into the production of the earlier +violins, most of which were, after all, chiefly intended +for the sanctuary, Catholic or Protestant.</p> + +<p>The arts and craftsbook of the Worshipful Guild +of Violin-makers of Markneukirchen, 1677 to 1772, has +lately been unearthed and translated by the many-sided +and indefatigable Heron Allen, and it throws a +kind of sudden flashlight upon the origin of an industrial +centre which has since become one of the most +famous emporiums of violins “made in Germany.”</p> + +<p><span class="pagenum" id="Page_194">[Pg 194]</span></p> + +<p>Here we read how a mere handful of masters and +workmen went out from kith and kin into a wilderness—some +would say a paradise—for the sake of worshipping +God in their own way—that is to say, the new +reformed Lutheran way. They settled, to the number +of sixty-six, about the year 1627, at the retired and +mountainous village of Markneukirchen. The old +book which records their uneventful annals begins +characteristically enough with, “In the name of the +Holy Trinity, Amen”; and then follow the names of +twelve families, the principals being Reicher, Hans +George, Polles, Gaspar, Schönfeldes, and Gaspar Hopf; +and from this modest nucleus, emigrants, chiefly from +Graslitz, grew the famous Guild, which by-and-by was +responsible for scattering abroad violins innumerable, +labelled with every known name, and of quality good, +bad, and indifferent; for it is a notable peculiarity of +the Markneukirchen makers that, whilst they were +compelled by the rules of the Guild to produce diploma +instruments and others of recognised quality, the cost +of production has got down as low as about four shillings, +and a very playable instrument, labelled Stradivari, +is actually sold for a sum not much above that +astonishing cost price.</p> + +<p>Many of these workers were all-round men, and did +not confine themselves to fiddle-making. Thus, Carl +Frederick Jacob was carpenter, locksmith, and general +instrument maker; one Andrea Gher, 1587, was a +schoolmaster; whilst Gasper Reichel was a barber. +Gottfried Pitz was admitted to the Guild on easy<span class="pagenum" id="Page_195">[Pg 195]</span> +terms, because he had served his country as a cavalry +soldier.</p> + +<p>The master-workers were mostly people of some substance. +They had to pay a tax of one florin on being +admitted to mastership; but sons of a master were +admitted on a reduced fee of five florins.</p> + +<p>Most of the masters were expected to have a decent +house, with a room large enough to entertain the Guild +with their wives at a banquet on their installation. +As this cost some money—there were various ways of +lightening the burden when the candidate happened to +be a desirable addition to the Guild—he was allowed +to pay in instalments, or part was remitted by favour. +A popular means of effecting economy was to <em>propose</em> +to marry the daughter of a master; that at least staved +off payment. The apprentices often got in cheap that +way.</p> + +<p>Hans Adam Narlitzer, who “intended” to marry a +master’s daughter, was admitted on reduced terms, on +the understanding that, if the match did not come off, +he was to pay up in full.</p> + +<p>One Kretchman also “intended” to marry the +youngest daughter of Hans Martin Schönfeldes; also +Johann Christian Envel, in 1761, had “half a mind” +to marry the youngest daughter of Reichel, and was +admitted for ten thalers; but in case he could not +make up his mind to marry the girl, <em>or any other +master’s daughter</em>, he would have to pay thirty-one +thalers. In no case is it <em>recorded</em> that any of these +gentlemen failed to marry as per contract; the masters’<span class="pagenum" id="Page_196">[Pg 196]</span> +daughters probably took very good care of that, or +would have sufficient influence to suppress the fact of +their rejection.</p> + +<p>With the spread of the Reformed opinions, there at +first arose a certain demand for violins in the new +churches; but the rigid Lutherans soon smelled the +odour of abuse and reversion to Romanism, and discouraged +any approach to ornate services, or an over-supply +of instrumental accompaniment. A decree that +the violins used in Church should be reduced in numbers +naturally spread consternation throughout the +little country town; but the growing demand for +stringed instruments of good quality for secular bands +soon counteracted the effect of sectarian bigotry and +clerical parsimony; and when one Joseph Haydn, +bandmaster to Prince Esterhazy in Vienna, practically +founded the modern orchestra with its symphony, and +created the modern oratorio and quartet, the demand +for violins and basses led to a prodigious development +of the Markneukirchen industry; and as the +masters not only had ready access to the best Cremonese +models, but were surrounded by some of the finest +maple timber in the world, felled in forests full of seasoned +trees hundreds of years old, the fame of the Markneukirchen +makers soon spread throughout Europe.</p> + +<p>At Mittenwald a similar community flourished, and +the crop of German instruments made, and still made, +by these enterprising artificers have flooded all the +orchestras of the world, providing them with samples +of every maker, from Gaspar and Maggini to Stradivari,<span class="pagenum" id="Page_197">[Pg 197]</span> +the Guarneri, Bergonzi, and Guadagnini. The +Mittenwald makers owed their inspiration chiefly to +Egidius Klotz, pupil of the great Stainer. They were +as famous for their fine hazel-fir timber as the Markneukircheners +were for their maple; it was also through +the Mittenwalders that the Cremona methods filtered +readily into the more northern region—Markneukirchen, +Prague, Nuremburg, Wurzburg, and Franken.</p> + +<p>The increased demand for instruments resulted +necessarily in a tendency to deterioration, which did +not escape the attention of the Guild, and rigid rules +were drawn up, called “Beneficent Mandates for the +Suppression of Abuses.”</p> + +<p>Every master had to prove himself equal to producing +one masterpiece as a sample of his skill, though it +was freely admitted that a cheap demand involved a +cheap type of instrument, which could not be expected +to rival the diploma standard of tone and finish.</p> + +<p>The quaint record of the Markneukirchen arts and +craftsbook ends with the year 1772, and with the words +“<i lang="la">Deo Gloria</i>.” Since that date the names of Reichel, +Schuster, and Paulus have all been <i lang="fr">en evidence</i> at various +European Exhibitions as medallists and exhibitors +of distinction; but, after a great fire in 1840, a good +many families left the town, and thus the old centre +became like a flower that had overblown itself, and +began to obey the inevitable law by which a mature +centre distributes itself gradually, losing as it were its +own central wealth in its circumference, as the seeds of +the dandelion get blown abroad over all lands.</p> +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> +<p><span class="pagenum" id="Page_198">[Pg 198]</span></p> + +<p class="center"> +CHAPTER XIV</p> +</div> +<br> +<p class="center"> +VIOLIN TREATMENT</p> + + +<p>The notion that the more a fiddle is knocked about +the better it is, is similar to the theory that the more +you knock about a horse the better he goes.</p> + +<p>A good horse will take a great deal of spoiling, and +so will a good fiddle. Your well-bred beast, even +when broken down, if you turn him out to grass and +attend to his ailments, will recover marvellously, and +so will a violin, if you glue him up, readjust his nervous +system, keep him dry, and coax him a bit.</p> + +<p>The delusion that a fiddle is all the better for being +maltreated is due to this:—Many people observe that +their old, battered, disorganised fiddles, which went +into the skilful repairer’s hands sounding like tin +kettles, come out with the true Cremona timbre; but +that, my deluded friend, is not in consequence, but in +spite of the knocking about to which your favourites +have been exposed.</p> + +<p>The fiddle-doctor has attended to your violin’s +internal economy, and gently healed its bruises, killed +the wolf or fiddle stomach-ache from which it was +suffering, glued tight the rattling back, ribs, belly, fixed +the loose sound-bar, and readjusted your Cremona’s<span class="pagenum" id="Page_199">[Pg 199]</span> +very soul (<i lang="fr">l’âme du violon</i>), which is the sound-post +and so it fares well; but remember, ’tis better to keep +a fiddle in repair and use than allow it to get out of +both, and go a mere wreck to the workshop.</p> + +<p>I am not forgetting, when I say “use,” that the incessant +and continued playing upon an instrument is +said to result in its getting what Joachim calls “played +out,” and that collectors have been great benefactors +by withdrawing choice instruments from wear and tear, +giving them thus long periods of suspended animation; +but, as a general rule, so long as a violin lasts—and +how long it will last is still a vexed question—fair +wear and tear and attention is just as good for a fiddle +as work, exercise, and cleanly habits are good for man +and beast.</p> + +<p>Neglect is <em>never</em> good; knocking about is <em>never</em> good!</p> + +<p>Lay it to your heart, O young player!</p> + +<p>What is that precious thing committed to your +care? You have brought it home from the auction-room—your +Amati. There was a conspiracy to keep +down the bidding. An influential dealer wanted to +buy it cheap, having already half sold it in advance +for twice as much as he meant to give; he went up +to £40 at the auction and stopped, but you were the +dark horse and made another bid; he winked at the +auctioneer, supposing it to be a bogus bid; the man +with the hammer paused and looked at the dealer, who +shook his head; for once the dealer had been too +clever and lost his Amati for a £5 note. It was +knocked down to you.</p> + +<p><span class="pagenum" id="Page_200">[Pg 200]</span></p> + +<p>You get it home; there is something wrong about +it; the timbre of the A string is unequal—sweet, but +too weak—it has a crack in one rib.</p> + +<p>You don’t expect a trumpet-sound like that of a +Joseph, or quite the bell-like ring of a Strad, but you +do mean to have a quality like the ripple of water—a +round, soft, and incomparably sensitive and <i lang="fr">intime</i> +tone, not to be surpassed by Strad and never reached +by Stainer.</p> + +<p>Of course your early Nicolo has got to be overhauled. +He has got a crack—perhaps more than one. +Why, he is already more than two hundred years old, +and may have a mark of the young Stradivari’s chisel +about him. Of what attention is he not worthy! +Take him to a subtle violin medicine-man, who will at +a glance see what he has got to deal with, and will sit +down before him and think!</p> + +<p>He will then take him up, handle him, tap him, pull +him to pieces with excessive care and reflection. When +you get him back, you may still be not quite satisfied, +but wait. <em>Your</em> treatment has to begin where the +fiddle-doctor’s ends.</p> + +<p>The convalescent home comes after the hospital—your +house is the convalescent home.</p> + +<p>The glue must dry; the changed sound-post must +grow to the newly-directed strain and tension of the +vibrating boards; the refixed flanks must learn to deal +with the air column, and the filled-up crack, by constantly +thrilling with the rest, must have time to forget +that it ever was a crack!</p> + +<p><span class="pagenum" id="Page_201">[Pg 201]</span></p> + +<p>Be not impatient. Play upon it gently at first, and +by-and-by draw out its tone; lay it aside and watch +that no harm comes to it; let it lie open, with a soft +silken wrapper on the strings—near, not too near the +fire; it must not get hot, but, like good claret, just the +temperature of a comfortably warm room.</p> + +<p>Think of it in winter as you would think of your +pet canary; don’t let it get chilled at night; let it be +in your own bedroom, or wherever there is an atmosphere +and temperature fit for a well-cared-for “human.”</p> + +<p>’Tis half human; ’tis caressed by your hand; it lies +close to your cheek; ’tis breathed on by you when you +press it, in moments of rare inspiration and musical +trance, between your chin and your left breast, where +its vibrating back actually <em>feels</em> the pulses of your own +heart. The waves of sound that you generate from it +are saturated with the magnetism of your touch; the +trembling pressure of your fingers comes from the +shaking of your own life-blood as it beats in the +mysterious valves of the heart, and seems to mingle +with those more than atmospheric, those <em>psychic</em> waves +which travel out upon the air in a flow of magic sound +conveying your inmost self to the inmost selves of +others!</p> + +<p>So this half-human thing must live with you and be +cared for by and fare with you, and be kept in good +humour.</p> + +<p>See that no clot of dirt be in its case, no speck of +rosin to vex and fret the smooth amber-coloured back. +Take it out lovingly; polish it with soft handkerchief;<span class="pagenum" id="Page_202">[Pg 202]</span> +keep it shining wherever the varnish still shows up, +and scrupulously clean elsewhere.</p> + +<p>The vile notion that a coat of rosin does good, and +may be left with advantage like a festering mass on +the belly underneath the strings, is a most grievous +delusion!</p> + +<p>Why suffer the corrosion of the varnish with a foreign +substance to remain there more than on any other +part of the wood?</p> + +<p>Rosin is for the strings, not for the belly, and the +strings are for friction, and are intended to be scraped +through and worn out and replaced, but the belly is +for vibration and is never intended to wear out.</p> + +<p>Your rosin is life to the strings, enabling them to +speak, but ’tis death to the wood, stifling its pores and +striking it dumb!</p> + +<p>Never touch your violin with oil, or spirit, or colouring. +Only a skilled repairer can venture to do that, +and even he will not always be wise.</p> + +<p>I have seen really good old instruments too much +cleaned or daubed over ruthlessly with muddy brown +varnish, much, as Ruskin says, he saw men with knives +and mops of paint at Venice scraping away and splashing +over with raw blue the vast old faded skies of +Paul Veronese!</p> + +<p>A spick and span mania seizes at times upon restorers +of all schools.</p> + +<p>A relative of mine had a Spagnoletti restored to him +by a cleaner, but so repainted as to be worthless.</p> + +<p>Have not half the cathedrals in the land been disfigured<span class="pagenum" id="Page_203">[Pg 203]</span> +by whitewash, starched and bleached just like +so much dirty linen, and the old frescoes obliterated +like so many disfiguring stains; and even now, in these +more enlightened days, how many old carvings have +been replaced by modern routine-work sculpture, +whilst the walls, façade, and floor of grand old St +Mark’s at Venice have been smeared over with Salviati’s +modern mosaic. Thus have I seen a Maggini +botched and browned over so completely with bad +German varnish as to leave only faint traces here and +there of the original coating.</p> + +<p>Never in the matter of varnish dare to <em>replace</em> +what time has stolen; that loss of old varnish is a +tribute paid not ungrudgingly to “the Vandal years,” +who have spared the life and been unable materially +to injure the fabric of the rare old instrument. Above +all, thou favoured guardian of a Cremona, never let +it get near damp, or suffer from any other mouldering +or corrosive influence.</p> + +<p>A friend of mine, finding that the worm had got +into his violin <em>case</em>, which contained a Guadagnini, +proceeded to saturate his case with benzoin, and before +it was properly dry replaced the precious instrument, +with the result that the old varnish was brought up +in blisters all over the back, which is now one crinkled +mass, as rough to the touch as a nutmeg-grater. The +varnish was completely ruined, and what is worse, the +violin has never sounded like itself since; a clear proof +to my mind that the varnish affects the tone, or at +least that damaged varnish impairs it.</p> + +<p><span class="pagenum" id="Page_204">[Pg 204]</span></p> + +<p>It is not at all an uncommon thing to find a violin, +which has been left unplayed upon for some months, +sulky when first taken out.</p> + +<p>Do not be rash or fidget with the bridge or soundpost. +Warm the fiddle up gently; rub it lightly with +all due care, and play on it without taking any notice +of its temper; go on for a couple of hours; you will +find, to your surprise, that it has recovered all its own +sweetness and charm, and will be ready to charm you +with the delightful sensitiveness of its response. All +that was really wanted was for the temporarily disused +channels of vibration to be again filled with sound—the +pores—the desiccated hollows to be once more +shaken up in the old way. The instrument has really +gone to sleep—some of its nerve currents have got +sluggish—that is, the desiccated powder molecules have +stuck in the pores and must be set rolling again. But, +like one just awakened, the fiddle takes a little time +to be “all there,” as the idiom runs.</p> + +<p>Something similar may be observed in a large hall. +When, after the atmosphere has been quiescent for +some time, speaking first begins, the speaker will not +be heard well; the atmosphere is stiff, and only when +the whole of it has been set in vibration—and that +takes a little time—does it become sensitive and +sufficiently elastic to be capable of transmitting the +slightest inflections of sound.</p> + +<p>There is, again, an electric as well as an atmospheric +and molecular state of the air and all other vibratory +substances, but this is a side of acoustics extremely<span class="pagenum" id="Page_205">[Pg 205]</span> +little understood, and can only be dealt with empirically +by speakers, singers, players, and especially +handlers of violins, who will instinctively make use of +some laws which they do not understand, and which +indeed do not yet seem to have been correctly +formulated.</p> + +<p>I feel that something ought to be said about the +position of the sound-post, though frankly I would +rather not say anything.</p> + +<p>Whatever advice one gives is certain to be wrongly +and mischievously applied.</p> + +<p>Technically, the sound-post should be a little behind +the right foot of the bridge, if you look from head to +neck, which is of course the left foot if you look from +neck to head. It ought also to be straight—if it is +aslant—unless the surface of the ends be cut on a slope. +Of course it clings but partially to back and belly, +whose throbs it is intended to blend; a little too near +the bridge will often produce a light hard tone; a +little too far will tend to a loose, muffled, or tubby +quality; a little to the right will brighten the right +string at the expense of the left, and <i lang="fr">vice versâ</i>. Get +it exactly in the fit place, and you attain the utmost +sensibility and equal sonority of which your violin is +capable. But so capricious are the vibrational laws, +and so subtle are the peculiarities of each violin’s +nervous system, that the position which at first has +failed to yield good results will ultimately be found +to have won its way to the heart of your violin, the +instrument adjusting itself to what was at first an<span class="pagenum" id="Page_206">[Pg 206]</span> +uncongenial treatment of its nerves, until the nerves +learn to sympathise, and even rejoice, in special directions +of pressure and tension induced by the sound-post. +When this happens, better let well alone and +don’t attend to outside advice of experts.</p> + +<p>It is seldom wise to encourage an amateur, or any +but a skilful hand, to trifle with the position of the +sound-post. If it <em>must</em> be moved or has fallen down, +why then by all means take the advice of an expert; +go to the doctor.</p> + +<p>The same sort of advice may be given about the +position of the bridge. Granted that you have a +bridge which suits your instrument (and the importance +of this I have elsewhere dwelt upon), then consider +whether ’tis worth while to move your bridge at all. +The two little side slits in the ∫ ∫ indicate approximately +the position of the bridge; let a violin-doctor +determine the right height, which, remember, must be +modified according to its position, and the slope and +elevation of the finger-board. But here again there is +a vague and subtle margin for readjustment; the importance +of the bridge’s position is of course directly +related to the whereabouts of the sound-post, as the +bridge is a prime factor in dealing first with the +vibrations transmitted by the sound-post from belly +to back.</p> + +<p>There are violins which gain brilliancy by the bridge +leaning a little forward, but this is of course dangerous, +as a little more, and down comes the bridge. The theory +of course is for the feet of the bridge to grip equally at<span class="pagenum" id="Page_207">[Pg 207]</span> +all points the surface of the belly—flat and close, and +with equal pressure. Now, if the bridge leans forward, +the grip of the back part of the feet is slightly lifted, +whilst the pressure of the front part is accentuated, and +if it leans backwards, precisely the reverse takes place. +Yet so capricious are fiddles, that some do not seem +to like to have their bridges quite straight, and so they +have got to be humoured.</p> + +<p>Without grave cause I should advise not meddling +with bridge or sound-post after they have been readjusted +by a good repairer. He may not have been +quite right; he may not have had the time or patience +to deal with your <i lang="fr">malade imaginaire</i> of a fiddle—for +amongst fiddles as amongst people, there are <i lang="fr">malades +imaginaires</i> which baffle the profession—but your fiddle-doctor +will be probably more right than you—fussy, +irritable, discontented, inexperienced amateur, and, if +you leave off tampering with the works, the fiddle will +very probably adjust itself and get all right.</p> + +<p>Then of course you must remember that whenever +you touch the bridge you touch the elevation of the +strings above finger-board. Put bridge back, you slacken +the touch for the player by bringing the strings close +down on the finger-board; put it forward or tilt it, and +you lighten the touch; make it harder for the fingers +by lifting the strings higher from the finger-board.</p> + +<p>And now a word about your finger-board. This is +generally made of ebony; the old masters used various +brownish woods, choosing, of course, the harder ones, +which they often inlaid beautifully. Sometimes even<span class="pagenum" id="Page_208">[Pg 208]</span> +they used ivory; you may perhaps have noticed that +on some violins you have a difficulty in stopping fifths, +or indeed any chords, in tune. This, unless you are a +mere blunderer, comes from the state of your finger-board. +You may not have noticed it, but you will +observe that the strings, by constantly being squeezed +by the fingers against the smoothly-arched surface of +the ebony, have worn channels in the wood, but +channels of unequal depths; the consequence is that +the same pressure, forcing two strings down on unequally +raised surfaces, fails to produce that relatively +equal pressure necessary for producing your true fifth; +the string also being sunk, it does not get the full +benefit of the finger’s pressure, as the shock of impact +will be broken by the higher level of the finger-board +on either side of the sunken string.</p> + +<p>In this way the tone <em>quality</em> as well as the <em>intonation</em> +suffers from what so constantly eludes observation—a +worn finger-board.</p> + +<p>Of course a new finger-board, or the restoration of +an old one, is a very easy matter, and can in no way +affect, except for the better, any violin.</p> + +<p>It may safely be said that no violin now in use has +either its original finger-board or, for the matter of +that, its original neck. Strings of very ill-assorted +thickness are also responsible for imperfect fifths.</p> + +<p>The management of the pegs sometimes presents +difficulties to the novice. Rosewood, ivory, and boxwood +have been tried, but ebony seems to be the +favourite, though many incline, as I do personally, to<span class="pagenum" id="Page_209">[Pg 209]</span> +rosewood, which is less dense, and thus, in contact with +the maple-head (which is again less dense in fibre than +the rosewood), offers a less hard and violent contrast +than does the iron ebony to the porous maple.</p> + +<p>But the all-essential thing is for the pegs to be nicely +fitted, and it is a vile practice to rosin the pegs to make +them stiffer, or to rub them with lead-pencil or whitening +to make them turn more easily.</p> + +<p>If your peg sticks, it is either because it does not fit +the hole, is not smooth, or because you have rammed +it in too far in order to resist the pull of a string, probably +coiled round and round the pegs in a tangled, +twisted mess.</p> + +<p>There never should be a need for this over-ramming +in of the screw, nor would there be if, when you pulled +up your new string to pitch, you immediately let it +down, drew the stretched part tight, and then screwed +up again, when you would find, instead of ever so many +coils, you had reduced the number to one or two, which +would at once lift the strain from your screw, and make +it needless for you to force it in till it stuck and almost +refused to move at all.</p> + +<p>You should be able, when your fiddle is at your chin, +to nip the peghead between the first and third joint of +your forefinger, and adjust the pitch to a nicety and in +a moment; but then the resistance of the screw must +be so nicely balanced with the tension of the string as +to allow of its moving easily when gripped, and keeping +in its exact place when left.</p> + +<p>It is a very strange thing that, whilst all sorts of<span class="pagenum" id="Page_210">[Pg 210]</span> +mechanical contrivances for moving violin screws have +been suggested, and even tried and adopted for guitars +and double basses, the violin retains its simple and +primitive screw; nor would any one who lays claim to +a decent position in the trade dream of advising a departure +in this, or indeed in any other respect from the +custom of the Cremona school and its successors.</p> + +<p>Concerning the stringing of your violin, beyond the +hints I have given with regard to the accumulation of +evils round the peg, there is not very much to be said.</p> + +<p>The quality, manufacture, preservation, and price of +strings has already been dealt with; and here, as in +everything connected with violins, there must be fine +and sympathetic adaptation of strings both to the +performer and to his instrument.</p> + +<p>A young girl will naturally incline to thinner strings +than a strong man, just as she will usually prefer a +lower bridge, which will reduce the resistance because +of the reduced distance between the strings and the +finger-board.</p> + +<p>Some players will prefer a thick first or third string, +according to the quality of tone they are able to elicit; +some a smooth or rather thin patent fourth in preference +to the usual more roughly-coiled and thicker +G string, which, however, is preferable for orchestral +playing; but, as a rule, buy your strings according to +gauge, if you can’t trust your eye, in a good shop, and +you will not be disappointed.</p> + +<p>Remember, as I have previously intimated, that any +great inequality in the relative thickness of your strings<span class="pagenum" id="Page_211">[Pg 211]</span> +may be quite as much responsible for your imperfect +fifths as an old channelled finger-board. Use plenty +of rosin, and let the string be seasoned with it right +up to the bridge, but not much, if at <em>all</em>, below the +top of the finger-board. The rosin must be well +rubbed in before you attempt solo work, as any excess +of what I may call raw undigested powder will produce +a most vile screeching.</p> + +<p>The tone of a fine violinist never reminds you of the +cat-gut and rosin. In the pure disembodied tone of +Piatti, Joachim, or Sarasate we entirely lose the sense +of all beggarly elements; they have suffered a change +into “something rare and strange.”</p> + +<p>The rough-and-ready way of testing false strings by +setting them in vibration, holding by each end, and +twitching till the double line is seen, and if a third line +appears condemning the string as false, is a method +often, not <em>always</em>, reliable. You can never be quite +sure till you have put the string on. If false, you <em>may</em> +get a true length out of it by trying another part; but, +as a rule, if one length of a string is false, it is bad all +through. A player, especially a soloist, should always +have a length or two of stretched and tested firsts in +his case, or, better still, in his waistcoat pocket, before +he goes on the platform, unless he can ensure the presence +of a second reliable instrument at hand in case of +a sudden breakage.</p> + +<p>Strings have every kind of vice short of downright +falseness. You need not put up with wheezy or +dull, or any sort of impure vibration, and beware of<span class="pagenum" id="Page_212">[Pg 212]</span> +laying the blame on the violin when the string is the +offender.</p> + +<p>Of course, if the sound-bar or the back or belly of +the violin is loose, or the sound-bar askew, that will +account for a good deal. By tapping all round the +front and the back, just where these join the ribs, you +can easily discover by a certain jar or rattle whether +and where something is loose; it may be one of the +blocks or linings.</p> + +<p>Test the fiddle and you may acquit the strings; +test the strings and you may acquit the fiddle.</p> + +<p>You may sometimes experience a difficulty in playing +the A or D string without striking the E or G; this +may be due to your own clumsiness, but it may also be +due to the curve of your bridge being too flat, or someone +or more of the strings having eaten too deeply into +the bridge.</p> + +<p>If your hand perspire much—and all hands perspire—your +strings, especially your E string, will rag out. +It is difficult to say exactly at what stage in the ragging +process it is advisable to change your string. It is +strange, but true, that the tone of an old ragged string +is not materially impaired. I have sometimes fancied +that such thorough tough and seasoned strings are +even improved in spite of age and infirmity. Certain +it is that the smoothest string will go without warning, +and the raggedest will sometimes hang on down to a +mere thread.</p> + +<p>Paganini perspired frightfully, so much so that he +always carried a dry shirt in his violin case, and a gentleman<span class="pagenum" id="Page_213">[Pg 213]</span> +noticed that when he opened his case to take out +his violin for a public solo, his strings were in rags.</p> + +<p>I have sometimes observed that, oddly enough, a +second or third string is less durable after it has ragged +than a first; the wearing of the threads which compose +the thick strings seems less hard and tight than those +of the thin chanterelle, or the resultant material is +softer and gets soaked and cheesy, and like cheese is +readily cut through by the nails.</p> + +<p>Lastly, the amateurish and falsely-assumed economical +habit of slackening all the strings each time the +violin is replaced in its case is a delusion and a snare; +it only worries your instrument’s nervous system.</p> + +<p>Slacken your <em>bow</em>, not your strings.</p> + +<p>The violin gets accustomed to the normal strain, and +adjusts itself to it, and resents being deprived of its +due tension as much as an athlete would resent his +dumb-bells being removed.</p> + +<p>The strings are quite as likely to break by being +constantly fidgeted up and down, and the violin is +much more likely to get demoralised by the wearing +action and reaction of a varying strain, than if you let +it alone with all its strings at their accustomed pitch.</p> +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> +<p><span class="pagenum" id="Page_214">[Pg 214]</span></p> + +<p class="center"> +CHAPTER XV</p> +</div> +<br> +<p class="center"> +VIOLIN DEALERS, COLLECTORS, AND +AMATEURS</p> + + +<p>I Have come to the conclusion, “after long years,” that +there are three things about which your averagely +honest man has no conscience whatever—the first is a +horse, the second is an umbrella, and the last, but not +least, is a fiddle.</p> + +<p>He will buy from some needy ignoramus a fiddle +worth £100 for a £5 note, if he can. He will sell a +fiddle which cost him £5 for £100, if he can. Truly, +the <i lang="la">caveat emptor</i> of the ancient Romans covers a +multitude of sins.</p> + +<p>On the other hand, the extreme ignorance of many +persons who have violins to sell offers singular temptations +to dealers, who are a class of people constitutionally +on the make.</p> + +<p>In bygone days, people who did not play the violin +used to be criminally careless about the instruments +that happened to be in their possession. Cremonas +might lie for years in damp attics, or hung up in disused +cupboards on rusty nails, or away in the dust of +ages on the top of old beds and cabinets. Even if the +fiddle was ultimately stolen—borrowed and not returned—it<span class="pagenum" id="Page_215">[Pg 215]</span> +was thought hardly worth a serious inquiry; +it “was all to pieces” or “only an old fiddle”; and, +indeed, I have before now seen such with the belly off +converted into serviceable dustpans.</p> + +<p>Credulity has succeeded to ignorance, and now any +one who has any sort of shabby-looking fiddle fancies +he has got a rare Cremona!</p> + +<p>He will advertise it unblushingly in the halfpenny +papers, bring it gravely to supposed judges, and make +a favour of even showing it to a dealer.</p> + +<p>Nothing will shake the confidence of these simple +folk in their spurious wares; they will bring out a +common brown German <em>dated</em> Maggini, and you point +out that Maggini never dated his instruments; they +suppose you to be envious. Or they show you a Stainer +rashly dated fifty years after that maker’s death (such +an one was lately brought to me), with a label so recent +that you wonder at the brazen fraud. As to the good +and tolerably deceptive French copies of Strad, their +name is legion, and for a moment a person fairly conversant +with fiddles may be deceived by such a subtle +and withal honest copyist as Lupôt, but to the eye of +the experienced dealer the varnish is quite enough. The +varnish that chips off instead of rubbing away, thus +leaving the raw wood more exposed than permeated, is +not Cremona varnish.</p> + +<p>Of course as to the new labels in modern type I have +nothing to say. No one but a complete fool in fiddles +could be taken in by them.</p> + +<p>Still, when all gross cases are put aside, there is an<span class="pagenum" id="Page_216">[Pg 216]</span> +excusable margin left for honest error, especially when +personal interest is on the side of error.</p> + +<p>I have very little doubt that my old friend, the late +Mr Cox, well known as an acute picture dealer, really +believed in a certain violin which he called the Red +Knight. He bought it at the great sale of Gillott’s +fiddles as a rare Joseph Guarnerius.</p> + +<p>I would never tell the old man to his face that his +Joseph was a very plausible red Landolpho copy of +Joseph, and I was even weak enough to allow it to lie +on the table of the Royal Institution side by side with +the “Dolphin,” Enthoven’s Maggini, the Emperor of +Russia’s Strad, a genuine Nicolas, a Joseph and a Jacob +Stainer; in short, the Red Knight lay by favour for one +evening in company with some twenty gems of worldwide +reputation.</p> + +<p>In the course of my lecture, to please my old friend, +I took up the Red Knight, remarking, “Here is a +fine violin <em>labelled</em> Joseph Guarnerius, once the property +of Mr Gillott, now owned by Mr Cox.” I said +no more.</p> + +<p>A few weeks afterwards the Red Knight was sold for +£300, partly on the strength of my having vouched for +it at the Royal Institution.</p> + +<p>Meanwhile the Jupiter of judges, William Ebsworth +Hill, had been consulted by the purchaser, who, on +finding that he had only got hold of a Landolpho, +wanted his money back.</p> + +<p>I think they would have gone to law if they could +have counted on me as a witness; but when I was<span class="pagenum" id="Page_217">[Pg 217]</span> +threatened with a subpœna, I replied, “I would certainly +go into the box, but should have utterly to +deny that I had vouched for the genuineness of the +Red Knight or expressed any opinion whatever about +it except that it was ‘a good fiddle <em>labelled</em> Guarnerius,’ +worth perhaps £60 but not £300.”</p> + +<p>The upshot was that I was not subpœnaed. Mr +Cox refunded the money and the buyer restored the +fiddle.</p> + +<p>No one doubts but what Mr Gillott, of steel-pen +celebrity, did obtain, chiefly through Charles Reade of +“Never Too Late to Mend” fame, a great many very +fine fiddles, but I am afraid that Mr C. Reade was also +responsible for some comparative rubbish like the Red +Knight. Certainly I find a very dubious Strad tenor +(one of Gillott’s) labelled 140 in the South Kensington +collection. As to this particular collector’s specimen, +if I grant him his belly and his sound-holes, it is about +all that I can do—for Strad never threw that scroll +nor touched with plane or chisel that back and ribs.</p> + +<p>I brought home from Australia a so-called Peter +Guarnerius—really an excellent violin—but it was no +more a Guarnerius than a Strad, and was sold far +under its value as a Camillo Camilli, which it probably +was. But what will you? After all, a fiddle at any +given time is worth what it will fetch.</p> + +<p>The most impudent fraud or the most blatant +delusion which has ever come under my notice was +the so-called Maggini exhibited by Mr J. W. Joyce +(110, South Kensington Exhibition, 1872).</p> + +<p><span class="pagenum" id="Page_218">[Pg 218]</span></p> + +<p>It was made by Bernhardt Fendt, and I gave in +the <cite>Pall Mall Gazette</cite> of the period its history and +the names of its chief owners; but it was not removed, +neither was the Amati tenor (No. 147), labelled and +hung as Maggini, ever re-labelled, nor was a Klotz +fiddle which bore a Stainer label ever corrected.</p> + +<p>The only fraud I succeeded in dislodging was a +spurious Bergonzi—also sent up by Mr J. W. Joyce—which +after my attack on the South Kensington collection +of 1872 disappeared.</p> + +<p>The poor thing, no worse than the Bernhardt Fendt +which brazened it out like a false claimant, was merely +made a scapegoat of.</p> + +<p>These be among the humours of your loan collections!</p> + +<p>But we must be indulgent. Some mistakes are +sure to be made, but it is only fair to remember +that the fiddle world is vastly indebted to these grand +fiddle exhibitions all the same. The exhibition of +1885 at South Kensington was not one whit less important +than the 1872 show.</p> + +<p>The 1885 specimens were more discreetly selected +than those of 1872. They had the advantage of being +largely controlled by Mr Hill.</p> + +<p>Besides the usual supply of leading Italian makers, +the English school was remarkably well represented. +There was found a capital Ford, a maker who has not +received due credit for his excellent work. A good +Duke and Walmsley, and a yellow fiddle by Tobin, a +man quite noticeable for the cut of his scrolls, which +are always full of character.</p> + +<p><span class="pagenum" id="Page_219">[Pg 219]</span></p> + +<p>There was an interesting John Lott, richly varnished. +A romantic interest must always attach itself to this +fine maker on account of his early Bohemian life, +recorded by Charles Reade in a memoir called “Jack +of All Trades.”</p> + +<p>Charles Reade, who knew Lott intimately, tells us +how at one time he travelled through Europe with a +menagerie and became famous as the keeper of a most +clever but vicious elephant called Djek, who, after +killing ever so many men, had to be demolished herself +with a cannon, and was then cut up for elephant steaks +to feed the town.</p> + +<p>It was only after the loss of Djek that John Lott +came again to London and took up the fiddle trade, +which he had learned in boyhood.</p> + +<p>Joseph Hill, Lockey Hill, and Banks, were also well +seen at South Kensington in 1885. There was also a +matchless Urquhart, very venerable—Anno 1666—the +date of the great fire of London, which happily spared it!</p> + +<p>The Stradivarius case contained Mr Hill’s interesting +1732 Strad (now Ysaÿe’s violin), which, although made +so late in his life, was signed by the old man, who after +1730, as a rule, had left off signing his instruments.</p> + +<p>A truly serio-comic chapter might be written on the +huge prices given for frauds. A friend of mine gave +£200 forty years ago for a supposed Strad (which was +only a Lupôt) at a time when £40 was a long price +for the clever Frenchman.</p> + +<p>A violin professor I know sold a very poor Strad +the other day, but made a very good thing out of it.<span class="pagenum" id="Page_220">[Pg 220]</span> +When the lady showed it me, I took a liberal view, +and said that £300 would have been a long price. +Her countenance fell.</p> + +<p>“Good gracious! I gave £600!”</p> + +<p>“Keep it long enough, and <em>anything</em> by Strad will +fetch that; but probably not,” I added, “in your lifetime +or mine.” This was some years ago.</p> + +<p>On the other hand, bargains in Strads and Josephs, +Bergonzis and Stainers, are still no doubt to be got, +but only about as often as bargains in Raphaels, Rubens, +Rembrandts, or Tintorets; but amateurs of pictures +and fiddles are mostly wrecked on school-pictures and +school-fiddles, often getting fair money’s worth, but <em>not</em> +what they <em>pay for</em>.</p> + +<p>Betts purchased one of the finest Stradivari in the +world for 20s. When John Lott opened it in Vuillaume’s +presence, he found the original bass-bar. The bar—so +Charles Reade tells us—was low and short, and quite +incapable of bearing the strain of concert pitch, and +John Lott replaced it with one stronger. The Betts +Strad was sold to George Hart for 800 guineas—a +heavy price fifty years ago.</p> + +<p>Mr John Hart, father of George Hart, picked up a +violoncello in Oxford Street for a sovereign or two. +The timbre caught his ear as he passed three street-musicians—violin, +cornet, and ’cello.</p> + +<p>Lindley, the great player, came into his shop and +bought a fine Forster ’cello for a round sum. This was +the Oxford Street ’cello.</p> + +<p>The destiny of violins has ever been one full of ups<span class="pagenum" id="Page_221">[Pg 221]</span> +and downs, and, like human beings, they have been +literally kidnapped, as in the case of Spohr’s, which +was lifted from behind his travelling carriage; shipwrecked, +like the Peter and Paul, <i lang="fr">vide</i> page 96; +murdered by those Vandals who patch stray bits of +slaughtered Cremonas into modern fabrics, and sold +for slaves, as in last century, to be scraped in dim +churches or ancient orchestras, until found out to be +royalties in disguise by the Chanôts and Vuillaumes of +the nineteenth century.</p> + +<p>One would suppose that the stealing of a first-class +instrument would be next to impossible. Hardly a +fiddle of mark now exists which is not known to one or +other of the great dealers in Paris, London, or Berlin; +and whenever it changes hands, it is likely to come +before them again for inspection and verification. Yet +some of the famous Spanish Court Strads have vanished +no one knows where, and another famous Strad from +the Plowden Collection, whilst in possession of one of +our diplomats at St Petersburg, disappeared, and has +never since been traced.</p> + +<p>Many years ago I left a Vuillaume, labelled Albani, +in a railway carriage when I got out to take refreshment. +I was not gone five minutes, but in that five +minutes my Vuillaume had gone.</p> + +<p>After the death of a well-known nobleman, a certain +so-called Strad in an elaborate case, with finely-mounted +bows, was submitted to Mr Hill for inspection. It +was nothing but a common German fiddle; but Mr +Hill told me he had no doubt that the original occupant<span class="pagenum" id="Page_222">[Pg 222]</span> +of the noble case had been stolen. Probably +many such thefts have been committed by dishonest +servants. Nothing could be easier than to substitute +one fiddle for another in houses—and they are legion—where +people do not know one fiddle from another, and +where fiddles lie unused and unvisited in lofts and +cupboards, I might almost say from generation to +generation. No soloist who travels should fail to insure +his treasure. Sarasate had a heavy insurance on +his violin when he went to America.</p> + +<p>But worse than theft is mutilation. The chances +are that what is stolen, unless it be stolen deliberately +to cut up, will some day reappear intact; but the +chances are small that a mutilated instrument will ever +collect its <i lang="la">disjecta membra</i>.</p> + +<p>Still, as in the case of Tarisio’s Spanish bass, that +too is possible, just as the recovery of the Hercules +Farnese statue, before alluded to, was possible.</p> + +<p>A well-known amateur whose Strad had been taken +to pieces for repair and the pieces wrapped in bits of +paper, on unfolding the fragments found the head +missing. The loss seemed irreparable, but a day or +two afterwards an old apple-woman picked it up in +the gutter, and happened to take it to the very fiddle-shop +charged with the repair of the Strad. That Strad +head was worth just 2s.—to the old woman!</p> + +<p>Nothing is easier than the perpetration of a fraud +by a clever copyist if he chooses to attempt it. Incredible +as it may appear, Paganini was shown by +Vuillaume two fiddles, one of which was his own and<span class="pagenum" id="Page_223">[Pg 223]</span> +the other a counterfeit, and was quite unable at the +moment to decide which was which.</p> + +<p>Chanôt’s copy of the Carlino or Kerlino 1454 viol, +No. 14, South Kensington 1872 Exhibition, completely +deceived me until I had the opportunity of handling +both instruments at leisure.</p> + +<p>These frauds extend to bows. The Tourte and Dodd +bows in existence that know not Dodd or Tourte are +legion.</p> + +<p>I should recommend my readers never to leave a +valuable bow in their case when they send their violins +for repair.</p> + +<p>I lost a good Dodd myself in that way. Fine bows +are not safe even in the orchestra anteroom; they get +“changed.” It seems so simple to some people, when +a bow, a crush-hat, or an umbrella happens to be lying +about, to mistake it for their own and leave theirs +behind, especially if it is inferior in quality to the one +they chance to catch up by mistake! As luck will +have it, ’tis seldom a worse one that gets caught up!</p> + +<p>A friend of mine happened to leave a fine Tourte +bow in his case, and then he sent his fiddle for repairs +to a smart dealer who shall be nameless here. When +the case returned, it had a bow in it, but it was a copy, +and a very good copy, of a Tourte. In this instance +the dealer restored the original under pressure.</p> + +<p>In everything connected with a fiddle and a bow I +say, Beware! Beware! Further, let me say to amateurs, +not one in a thousand of you, even with practice and +opportunity, is fit to judge of a violin; you may easily<span class="pagenum" id="Page_224">[Pg 224]</span> +know what <em>suits</em> you, and that no doubt for practical +purposes is the essential. You can hardly know what +is <em>genuine</em>.</p> + +<p>Over and above culture and wide observation and +experience, a certain instinct is required, and few are they +that have it. Why, my friend, if William Ebsworth +Hill, from whose judgment there was no appeal, got +“his eye out” when only for a few weeks he left off +looking at fiddles, or distrusted his own judgment on +certain days, as to my knowledge was the case—for he +was at once the most diffident and absolute of men—what +chance have you? Why, none at all!</p> + +<p>I will go further than this, and declare that half the +violinists now before the public are no more judges +of a <em>genuine</em> fiddle than my cook. A man may be +a judge without being able to play, and a man may +play divinely and not be a judge. At the same time +Charles Reade’s opinion would have been even more +valuable than it was had he played himself. He +never would have written those foolish paragraphs +about modern-made fiddles sounding as well as old +Cremonas had he played himself. It is all the difference +between a man who looks at another man on +horseback and one who has got to ride the horse +himself; the first may not see much difference in two +horses, but the second soon finds it out!</p> + +<p>Playing the fiddle won’t make you a judge, but +you will be a better judge if you can play the fiddle. +I remember showing Remenyi a very fine copy of Strad +which had deceived many. He walked up and down<span class="pagenum" id="Page_225">[Pg 225]</span> +my room playing upon it with delight, and pronounced +it a genuine Strad beyond a question. It was a Lupôt +for all that.</p> + +<p>As for your ordinary amateur, he will judge by an +old-looking label, being unaware that forgers keep +old battered counterfeit type in stock, or he will note +the place of the little buttons which fasten the inner +blocks, supposing that each maker had his favourite +position for these buttons from which he never deviated. +Others will prate about Strad’s wasp sting purfle +running counter to the angle of his corners, or declare +that one maker never made his back in two pieces, +whilst another never made it otherwise.</p> + +<p>But there is one mark occasionally found in old +Italian violins which I do not remember to have seen +forged or imitated, or indeed even so much as alluded +to by any writer.</p> + +<p>If the amateur happens to have an instrument with +a little round hole in the back of his fiddle a few +inches below the nut, filled up skilfully so as to be +almost imperceptible, he may be quite sure he has got +an old violin, probably one of the oldest, as the practice +of falling suddenly on the knees and letting the +violin hang, in processions in which the singers went +before and the minstrels followed after, has long been +abandoned.</p> + +<p>That little hole, so cunningly plugged, shows the +place where a slight chain connected the instrument to +a button-screw or hook, so that at the elevation of the +Host, the minstrel might suddenly fall on his knees<span class="pagenum" id="Page_226">[Pg 226]</span> +without the fear of dropping his fiddle. I have an old +Andrew Guarnerius so plugged, and the violinist Oury +first pointed this out to me and explained the reason of +the plugged hole!</p> + +<p>Scores have sent me descriptions of their fiddles, and +expected me to pronounce on the genuineness of them, +or are sure that they own a real Strad or Amati, because +theirs (in their opinion) exactly corresponds to +my description of Strad or Amati in “Music and +Morals.” All this shows that the outside public have +not the faintest inkling of true violin lore.</p> + +<p>Oliver Wendell Holmes felt this when he wrote to +me in 1885.</p> + +<p>He had himself written very charmingly on the +violin, and the passage is quoted with approval even +by so redoubtable a critic as Mr George Hart in his +admirable book “The Violin” (1887).</p> + +<p>Oliver Wendell Holmes had the acuteness to see +that all <em>mere</em> picturesque writing was valueless from a +technical point of view, and he thus expresses himself +to me in a letter dated December 5, 1885:—</p> + +<p>“I never knew until I read what you say of the +instrument what profanation I had been guilty of to +touch one, much more to write about it!” and he was +kind enough to add: “You have given a life to the +fiddle such as nothing but its own music ever gave it +before!”—words which, coming so spontaneously from +the author of the “Autocrat of the Breakfast-table,” +I think I may be allowed to quote with pardonable +pleasure.</p> + +<p><span class="pagenum" id="Page_227">[Pg 227]</span></p> + +<p>There is a point interesting alike to collectors, +amateurs, dealers, and players, which I feel somewhat +strongly about in view of much recent, and, as it seems +to me, ignorantly conducted controversy.</p> + +<p>It is whether, as far as tone and sensibility are concerned, +the best modern fiddles are not quite as good +as the best old ones. We hear repeatedly stories of +Strads and Josephs being played side by side with +modern fiddles, whilst the best judges have failed to +detect the superiority of the old over the new. This +test is most unsatisfactory. The ear is as easily confused +as the palate. It is currently reported that if +you taste alternately port wine, cream, and sherry, you +will not, after a few sips with your eyes shut, be able to +tell the difference; but no one argues from this that <em>there +is no difference</em>. The ear is not only easily confused +about the quality, but even about the direction of sound.</p> + +<p>Let one man shut his eyes and another snap his +fingers on the right, left, and above the other’s head +several times running, and this one shall be utterly +unable to tell after a few turns where the fingers are +being snapped. No one is a real judge of the distance +from which a sound comes. If, then, we can be easily +puzzled when plied with such tests about the direction +and the distance, no wonder if tests expressly designed +to confuse us about timbre should be equally successful. +But the question is practically settled by soloists invariably +preferring a fine old fiddle to a fine new one, +not as connoisseurs, but as <em>players</em>, and there must be a +reason for this.</p> + +<p><span class="pagenum" id="Page_228">[Pg 228]</span></p> + +<p>Therefore, I will hear of no talk, even from the lips +of a Charles Reade, about the varnish, the finish, the +artistic beauty in form or colour of the old violins +being largely responsible for this avowed preference. +It is tonal power—quality, sensibility, volume, timbre—a +something <em>personal</em>, as it were, to the old fiddles, +which points to certain real qualities in their makers +which have not since been rivalled, and this is quite +apart from the item of age.</p> + +<p>Age will make a good fiddle better, but it won’t +make a bad fiddle good; it may also be possible to +prematurely age a new fiddle, not with heat or acids, +but quite legitimately, by incessantly and for long +periods of time grinding it through every semitone +of its compass, and well-made modern fiddles will +doubtless improve every year, like good wine, up to +a certain point. They will then probably deteriorate. +But the age at which the old Cremonas are bound to +deteriorate has happily not yet been reached.</p> + +<p>The root of the matter lies here.</p> + +<p>A listener behind the door may not know the difference +between a Strad or Joseph or some other, but the +<em>player does</em>. A spectator in the Park may see no great +difference between the pet horse ridden by the lady +and the even more handsome quadruped upon which +her groom follows; but <em>she</em> knows. So the hunter knows +his horse, and values him above another horse which +looks better; the beast he rides will answer to his will, +go anywhere with him, and rise to every occasion.</p> + +<p>This is what your Strad fiddle does.</p> + +<p><span class="pagenum" id="Page_229">[Pg 229]</span></p> + +<p>All violinists will tell you that there is a <em>reserve</em> of +force about a Strad; you can “pull out,” and you will +never be disappointed.</p> + +<p>All lovers of Amati will tell you that they find in +Nicolo a trembling sighing sensitiveness, a tenderness, +and a tone delicate to the point of vanishing, which +endears Amati to the women, and still leaves his finest +instruments unapproachable for cabinet-playing.</p> + +<p>And all players will tell you that for domination +and downright big-battalion power, Joseph Guarnerius +del Gesù has not his equal.</p> + +<p>And the reason for this real, not fancied, supremacy +of the great makers and their best pupils?</p> + +<p>The reason is complex, no doubt—so complex that, +when all precautions have been taken to imitate wood, +proportions, varnish, workmanship, so as thoroughly to +deceive the eye, the modern <i lang="fr">chef-d’œuvre</i> is, in spite of +puzzled auditors, still not identical in quality with the +old Cremona gems.</p> + +<p>I was called the other day to judge a set of English +bells, cast with the same proportions of tin and copper, +of exactly the same size, weight, and model as a suite +of Belgian bells cast by Severin Van Aerschodt; but +the sound?</p> + +<p>Ye gods! No silver clang and tin-kettle parody +could be further apart than were those English and +Belgian bells.</p> + +<p>But to return to our fiddles. The reasons of Cremona +supremacy remain to be tackled.</p> + +<p>I hazard the following points:—</p> + +<p><span class="pagenum" id="Page_230">[Pg 230]</span></p> + +<p><em>1st.</em> Selection of wood. No doubt the old Lombardian +forests, with their salt-impregnated roots, provided rare +planks. The vaunted American woods fail technically +to satisfy the Cremona requirements.</p> + +<p><em>2nd.</em> The knowledge, at first empirical, then intuitive, +born of a lifelong study of the relative density of +woods fitted to vibrate together. Nothing can teach +this, no rule or measurements; for every plank varies +in porousness, density of fibre, age, and seasoning.</p> + +<p>Charles Reade was napping when he expressed a +hope that a certain Stradivari back, mated with a new +belly, might some day be united to <em>some</em> Stradivari back +of which he knew; but unless it happened to be <em>the</em> belly +Strad had selected for that particular back, what reason +is there to suppose that the result would be satisfactory?</p> + +<p><em>3rd.</em> I am of opinion that the old method of careful +oil-sizing and the subsequent application of gum +materially affected the tone.</p> + +<p>Think for a moment only of what is implied in the +saturation—too much or too little of the wood—with +oils, spirit, gum of this or that quality.</p> + +<p>Necessarily some vibratory capacities must be affected—for +better, for worse—by the filling in, one way or +another, of the wood pores; and do not the commonest +of modern artificers admit that the Cremona varnish, +and the exact mode of its application, is as yet undiscovered; +and when they speak otherwise, do they not +laugh in their sleeves?</p> + +<p><em>4th.</em> Admit that the <em>proportions</em> are exactly equal, +the column of air almost identical in cubic measure,<span class="pagenum" id="Page_231">[Pg 231]</span> +about 512 to the second; still remains the vibratory +qualities of infinite varieties of grain—coarse or close, +loose or serried—in wood fibre acting upon that air +column.</p> + +<p>The old makers varied their models, but, no doubt, +had regard to the thicknesses and the subtle relations +between the hard and soft woods which would produce +the power or quickness of reply, or sweetness, or penetratingness +aimed at.</p> + +<p>It <em>may</em> be that the secret for the production of these +is quite incommunicable, just as a painter, an actor, a +singer, a sculptor will do a thing before you, which you +cannot do, which he cannot teach you how to do, though +he place his brush, his chisel, his music, his toga and +footlights at your disposal.</p> + +<p><em>5th.</em> We have no time for failures; they had. Endless +experiment, endless comparison, observation, meditation, +unlimited leisure: one and the same man made +each part, and knew the interpenetrative qualities and +the mutual adaptation of the sundry parts.</p> + +<p>We now have subdivision of labour; each man makes +one of the parts, and some one else puts them together. +How can such backs accord with such bellies? How +can such ribs cotton with such strange and fortuitous +planks? Truly a scratch company brought together like +strangers, yet expected to accept their arbitrary assortment, +and make sweet harmony together. But they +were not fastened together, in view of one another, +by one and the same master-mind, who knew what +was good for them, and what they were good for!</p> + +<p><span class="pagenum" id="Page_232">[Pg 232]</span></p> + +<p><em>6th.</em> But given the possibility of favourable conditions—time, +absorption, infinite experience, and all +the accumulated knowledge of the past—and given a +modern Nicolo, Strad, Joseph, or even Bergonzi, and +given climate, and given wood galore, and might not +we expect Cremona results?</p> + +<p>Why, yes, with Cremona conditions, certainly, or at +least a very fair approximation; and I am far from +saying that we are not on the road to it.</p> + +<p>Until lately it has not been worth while for makers +like the Hills, the Gands, or the Chanôt firms to do +aught seriously but repair or parody closely for the eye +the old fiddles.</p> + +<p>But such of Vuillaume’s fiddles as have not been aged +with heat and acids, and the fine £10 to £30 violins +now being made conscientiously by Messrs Hill, in proportion +as old fiddles become rare and inaccessible, must +come to the fore. Anyhow, players will, it is hoped, +give up the idiotic folly of paying large sums for +indifferent old fiddles, even with respectable names, +when they can get really fine new ones for half the +money with twice the tone—a good tone, too, which +a very few years will suffice to mellow.</p> + +<p>We write these words in the interest of dealers, +collectors, players, and artificers alike—indeed, it +would be well worth while for collectors even now to +get hold of the finest attainable specimens of new +work. As a mere speculation it would be at least as +sound an investment as laying down good vintages of +port or sherry.</p> + +<p><span class="pagenum" id="Page_233">[Pg 233]</span></p> + +<p>A good Hill recently made, price £30 or £40, <em>e.g.</em> +the fine copy of the Tuscan Strad, only requires age +to mellow it into a price of three figures.</p> + +<p>These new and garish-looking instruments, which, +after all, do not look more gaudy than the Messie +Strad, are exceedingly loud in tone, and withal very +sensitive.</p> + +<p>A certain tartness of timbre merely calls aloud for +another ten or twenty years to soften and refine it +into the Cremona tone.</p> + +<p>Meanwhile, the aspirants to Cremona excellence are +entertainingly numerous. From time to time I get +letters accompanied with samples from people who +claim to have discovered the secret of the Cremona +varnish.</p> + +<p>Here and there some enterprising maker will get +a literary friend to extol him as the successor of +Stradiuarius.</p> + +<p>I came across a pamphlet the other day assigning +Cremona rank to a worthy musician who makes fiddles +<i lang="fr">en amateur</i>, and a certain German working in America, +whose violins present all the usual characteristics of +instruments made in Germany. I actually got half +through this remarkable document, written <i lang="fr">au grand +serieux</i>, before I discovered that it belonged to the +liver pill, patent syrup, and soap class.</p> + +<p>Rumours may reach you from America of the wonderful +Californian wood. Well, European experts tell +me that, fine as is the marking, it does not yield the +required timbre, and that the planks now coming over<span class="pagenum" id="Page_234">[Pg 234]</span> +from the old forests of Herzgovina and Bosnia are +far superior for fiddle-making purposes.</p> + +<p>Then think of the care and study in selection made +by those old Italian artificers who frequented the +Brescian and Cremonese markets, and haggled over +special bits of timber. They knew exactly where it +came from—the peculiarities of the soil, iron or salt +impregnated from whence it came; whether it was +cut as it should be, in autumn, with the sap out of +it, and exactly how long it had been cut, and to +what conditions it had been exposed before it came +to be worked up. The subtleties were endless. Who +troubles their heads about such things now?</p> + +<p>No! The fact about modern fiddles you, my +anxious inquirer, may take it for granted is what I +have stated. Take good new fiddles by Hill, Chanôt, +Bernardel, Gand, and, according to the time and individual +or one-man power and skill spent upon them, +they will rank high, and higher by-and-by; and if +ever the genius and the conditions which obtained at +Cremona, anno 1700, are again found, then, and not +till then, will the peers and rivals of the Cremona +masterpieces be seen and heard—and paid for.</p> + +<p>It may be rash to attempt a scale of prices, when +the experience of the last fifty years proves that we +have to deal with a <em>sliding</em> scale. Forty years ago +my father bought a rather small Andrea Guarnerius +at Puttick & Simpson’s for £4, which could not now +be picked up under £20. No Cremona from 1660 +to 1760 can be got for much less, though many<span class="pagenum" id="Page_235">[Pg 235]</span> +better fiddles can be got for half that price. Of +course the rise in the Strads is quite phenomenal. +Stainer, on the other hand, is not valued as highly +by comparison as he was last century; whilst, owing +to the rarity of real Stainers, the demand for Klotz +and Albani, more easily attainable, has somewhat +increased, and generally all the second and third +class makers are being hunted up and command good +figures now, just as a man who can’t get Charles II. +silver will put up with William and Mary, Queen +Anne, and even the early Georges.</p> + +<p>It is quite safe to buy Urquhart, Ford, Banks, +Forster, Furber (Henry, David, or John), and Pamphilion; +but the once popular “Duke” days are pretty +well over.</p> + +<p>Lupôt should be <em>always</em> secured, and Vuillaumes +that have not been cooked with acids and heat; and +no collector will go far wrong with Pique.</p> + +<p>Venetian fiddles, and especially violoncellos, near +akin to Cremona, will be sure to rise; and, as a rule, +the Northern fiddles will command a better figure +than the Southerners—Rome and Naples.</p> + +<p>But all such hints are general, and must be taken +for what they are worth, for stray specimens will often +turn up belonging to almost any school, which will +have rare merits and can hardly be accounted for by +any systematic classification.</p> + +<p>The following up-to-date (1898) scale of prices may +be a useful but rough guide to the collector with money +that burns his pocket:—</p> + +<p><span class="pagenum" id="Page_236">[Pg 236]</span></p> + + +<p class="center">PRICES</p> + +<p class="center">[1898]</p> + +<table class="autotable"> +<tr> +<td class="tdl">Stradivari</td> +<td class="tdr">£2000</td> +<td class="tdl">to</td> +<td class="tdr">£200</td> +<td class="tdl"></td> +</tr> +<tr> +<td class="tdl">Joseph Guarnerius</td> +<td class="tdl">1000</td> +<td class="tdl">”</td> +<td class="tdl">100</td> +<td class="tdl"></td> +</tr> +<tr> +<td class="tdl">Other Guarnerii</td> +<td class="tdl">300</td> +<td class="tdl">”</td> +<td class="tdl">30</td> +<td class="tdl"></td> +</tr> +<tr> +<td class="tdl">Nicolo Amati, and the brothers<br>Anthony, and Gerome</td> +<td class="tdr">500</td> +<td class="tdl">”</td> +<td class="tdr">80</td> +<td class="tdl">or £50</td> +</tr> +<tr> +<td class="tdl">Stainer</td> +<td class="tdl">200</td> +<td class="tdl">”</td> +<td class="tdl">30</td> +<td class="tdl"></td> +</tr> +<tr> +<td class="tdl">C. Bergonzi</td> +<td class="tdl">600</td> +<td class="tdl">”</td> +<td class="tdl">40</td> +<td class="tdl"></td> +</tr> +<tr> +<td class="tdl">Maggini</td> +<td class="tdl">500</td> +<td class="tdl">”</td> +<td class="tdl">50</td> +<td class="tdl"></td> +</tr> +<tr> +<td class="tdl">J. B. Vuillaume</td> +<td class="tdl">60</td> +<td class="tdl">”</td> +<td class="tdl">20</td> +<td class="tdl"></td> +</tr> +<tr> +<td class="tdl">Lupôt</td> +<td class="tdl">200</td> +<td class="tdl">”</td> +<td class="tdl">50</td> +<td class="tdl"></td> +</tr> +<tr> +<td class="tdl">Pique</td> +<td class="tdl">60</td> +<td class="tdl">”</td> +<td class="tdl">10</td> +<td class="tdl"></td> +</tr> +<tr> +<td class="tdl">Forster (’cellos)</td> +<td class="tdl">100</td> +<td class="tdl">”</td> +<td class="tdl">20</td> +<td class="tdl"></td> +</tr> +<tr> +<td class="tdl">Duke</td> +<td class="tdl">40</td> +<td class="tdl">”</td> +<td class="tdl">5</td> +<td class="tdl"></td> +</tr> +<tr> +<td class="tdl">Banks</td> +<td class="tdl">100</td> +<td class="tdl">”</td> +<td class="tdl">20</td> +<td class="tdl"></td> +</tr> +</table> + +<p>There are two general rules, which, like all rules, may +have some exceptions—not many:—</p> + +<p>I. Never buy a fiddle simply at the owner’s valuation; +judge it by your own knowledge if you have any, +or that of an expert if you have none.</p> + +<p>II. If you buy at auction, always go a few pounds +better than the highest bid offered by a <em>dealer</em>, and if +you win, you will be in luck.</p> + +<p>III. Before sending a valuable violin to be “done +up,” select your repairer carefully. A fiddle maker is +not necessarily a fiddle restorer, and may be quite +ignorant of the traditions which should regulate this +branch of the luthier’s art.</p> + +<p>IV. Get your violin’s pedigree <em>as far as you can</em> in +detail, with names and dates. Had this been always +done, exhibitions would have been spared many a delusion +and collectors many a fraud.</p> +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> +<p><span class="pagenum" id="Page_237">[Pg 237]</span></p> + +<h2 class="nobreak" id="POSTLUDE">POSTLUDE</h2> +</div> + + +<p>My task is ended.</p> + +<p>The shades of the great melodious dead still seem to +hover around me—as their echoes</p> + +<p class="center"> +“Roll from Pole to Pole,”<br> +</p> + +<p>and from</p> + +<div class="poetry-container"> +<div class="poetry"> + <div class="stanza"> + <div class="verse indent14">“Soul to soul,</div> + <div class="verse indent0">And grow for ever and for ever.”</div> + </div> +</div> +</div> + +<p>Violins may be made hereafter, copies may deceive +the eye, sounds bewilder the ear, but there will never +again be an Amati or a Stradivari, any more than a +Phidias or a Raphael.</p> + +<p>The age of discovery comes but once.</p> + +<p>It is big with the future up to the moment when it +resumes in itself the golden heritage of the past. We +may imitate, but we cannot reproduce; nor will that +thrill of perfection—that emotion of eternal novelty +which we experience in contemplating and sounding +the Cremona masterpieces—ever electrify those who +handle their pale effigies, uninformed by that secret +magic which only appertains to absorbing things done +for the first time.</p> + +<p>Hail! to the mighty dead, whose incommunicable +touch is still felt by millions upon millions from generation +to generation!</p> + +<p><span class="pagenum" id="Page_238">[Pg 238]</span></p> + +<p>Hail! to the mystic life, which still circulates +throughout the arteries of ten thousand orchestral +organisms!</p> + +<p>Hail! to the undying names of those who first imprisoned +(in order to set free) the passionate longings +and divine aspirations of humanity—in the</p> + +<p class="center"> +<span class="smcap">Soul of a Cremona!</span><br> +</p> + +<figure class="figcenter illowp47" id="i_238a" style="max-width: 63.125em;"> + <img class="w100" src="images/i_238a.jpg" alt="Names of violinists"> + <figcaption class="caption"><p class="center">Nicolaus Amatus Cremonen. Hieronymi Fil., ac Antonij Nepos Fecit.</p> + <p class="center">Gasparo da Salo, In Brescia.</p> + <p class="center">Andres Guarnerius fecit Cremonæ sub titulo Sanctæ Teresiæ 1696</p> + <p class="center">Joseph Guarnerius fecit ✠ Cremona anno 1793 IHS</p> + <p class="center">Gio Paolo Maggini in Brescia.</p> + <p class="center">Anno 1733 Carlo Bergonzi fece in Cremona</p> + <p class="center">Antonius Stradiuarius Cremonensis Faciebat Anno 1709</p></figcaption> +</figure> + + +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> +<p><span class="pagenum" id="Page_239">[Pg 239]</span></p> + +<p class="center"> +DICTIONARY OF VIOLIN MAKERS</p> +</div> +<br> + +<div class="blockquot"> + +<p><span class="smcap">Aachner</span>, Philipp. A Mittenwalder, +1772; ordinary German +characteristics.</p> + +<p><span class="smcap">Abbati</span>, Giuseppe. He worked +at Modena, according to +Forster, 1775-93.</p> + +<p><span class="smcap">Absam</span>, Thomas. Lived at +Wakefield, in Yorkshire; but +his name, identical with the +birthplace of Stainer, suggests +a German origin. Employed +by Pickard, of Leeds; his +labels run: “Made by Thomas +Absam, Wakefield.” Date +1810-49.</p> + +<p><span class="smcap">Acevo.</span> Doubtful whether he +ever existed. Fétis saw a +bass viol which he connected +with his name. It was signed +at the back, “Marin Marais,” +but it is all very shadowy.</p> + +<p><span class="smcap">Adam</span>, Jean Dominique, son of +Jean Adam. Both worked at +Mirecourt, according to Vidal; +both made bows, and the son +made the best, and signed all +he sold himself, 1823-69.</p> + +<p><span class="smcap">Adams</span>, C. Takes rank merely +as a local maker at Garmouth, +Scotland, 1800.</p> + +<p><span class="smcap">Aglio</span>, Giuseppe dall’, of Mantua; +varnish bright yellow, +1800-40.</p> + +<p><span class="smcap">Aireton</span> (Airton), Edmund, of +London. Made good fiddles +on the Amati and Steiner +models; he varnished yellow, +1727-1807.</p> + +<p><span class="smcap">Albanesi</span>, Sebastiano, is said +to have lived at Cremona; +his work is almost unknown, +1720-44.</p> + +<p><span class="smcap">Albani</span>, Mathias, b. about 1621, +Botzen (Tyrol); d. there 1673. +(<cite>See</cite> p. 102.)</p> + +<p><span class="smcap">Alberti</span>, Ferdinando. Milanese; +yellow varnish. Label: +“Ferdinando Alberti, fece in +Milano, nella contrada delle +pesce al segno della Corona, +nel anno 1740-60.”</p> + +<p><span class="smcap">Aldric.</span> Maker and great repairer. +Labels: “Fait par +Aldric,” or “Rue de Seine, +71, près celle de Bussy, Aldric, +luthier, Paris, an. 18—.” +(<cite>See</cite> p. 174.)</p> + +<p><span class="smcap">Alessandro.</span> A Venetian +maker, 1540.</p> + +<p><span class="smcap">Aletzie</span>, Paul. Worked at +Munich; good tenors and +violoncellos, German type, +1710-20.</p> + +<p><span class="smcap">Allard</span>, François. Successor +of Maubert, 9 rue du Petit-Pont, +1788-89.</p> + +<p><span class="smcap">Alvani.</span> A Cremonese maker, +1750.</p> + +<p><span class="smcap">Amati</span>, Andrea. The father +of the Cremona school, 1525. +(<cite>See</cite> Chap. V.)</p> + +<p><span class="smcap">Amati</span>, Antonio, elder son of +Andrea Amati; b. Cremona +about 1560. (<cite>See</cite> Chap. V.)</p> + +<p><span class="smcap">Amati</span>, Girolamo, second son +of Andrea Amati; b. about +1562. (<cite>See</cite> Chap. V.)</p> + +<p><span class="smcap">Amati</span>, Girolamo, third son and +successor of Nicola Amati; +b. Feb. 26, 1649. (<cite>See</cite> Chap. +V.)</p> + +<p><span class="smcap">Amati</span>, Giuseppe. Said to have +lived in Bologna, seventeenth +century. (<cite>See</cite> Chap. V.)</p> + +<p><span class="pagenum" id="Page_240">[Pg 240]</span></p> + +<p><span class="smcap">Amati</span>, Nicola, younger brother +of Andrea Amati, is said +to have worked with him, +1568-80. (<cite>See</cite> Chap. V.)</p> + +<p><span class="smcap">Amati</span>, Nicola, son of Girolamo +Amati; b. Dec. 3, 1596; d. +April 12, 1684, aged eighty-eight, +according to the registers +of Cremona Cathedral. +(<cite>See</cite> Chap. V.)</p> + +<p><span class="smcap">Ambrogi</span>, Pietro. Cremona +and Rome. “Petrus Ambrogi, +Crem. fecit Romæ, an. 17—.”</p> + +<p><span class="smcap">Ambrosi</span>, Pietro. A Brescian +maker; very mediocre, 1712.</p> + +<p><span class="smcap">Ambrosio</span>, Antonio d’. Neapolitan, +1820.</p> + +<p><span class="smcap">Amelot.</span> French maker in +Lorient; yellow varnish; +mediocre, 1812-29.</p> + +<p><span class="smcap">Anciaume.</span> Existence doubtful.</p> + +<p><span class="smcap">Anselmo</span>, Pietro. Cremona +and Venice; small pattern; +deep yellow varnish; fair +maker, 1700.</p> + +<p><span class="smcap">Antoniazzi</span>, Gregorio. Bergamo, +1738; labels bear: “in +Colle, 1738.”</p> + +<p><span class="smcap">Antonio</span>, Cypriano.</p> + +<p><span class="smcap">Antony</span>, Girolamo. Cremonese +pattern; yellow varnish, 1751.</p> + +<p><span class="smcap">Ardenois</span>, Johannes. Ghent, +1731.</p> + +<p><span class="smcap">Artmann.</span> Weimar, cir. 1760; +pupil of Ernst of Gotha; +Amati pattern; yellow varnish.</p> + +<p><span class="smcap">Askey</span>, Samuel. Pupil of John +Morrison; employed by +Corsby, cir. 1825.</p> + +<p><span class="smcap">Assalone</span>, Gaspare. Roman; +Amati pattern; over-arched; +poor yellow varnish.</p> + +<p><span class="smcap">Aubry.</span> Paris; a nephew of +Aldric (who dealt with +Tarisio); inferior to his uncle, +1840.</p> + +<p><span class="smcap">Audinot</span>, Nestor Dominique, +b. at Mirecourt 1842; worked +under Sébastien Vuillaume; +took up his business in 1875 at +the age of seventeen; is very +industrious, and makes excellent +instruments. Labels: +“N. Audinot, luthier, élève +de Vuillaume, Paris.”</p> + +<p><span class="smcap">Augière.</span> Pupil of Clément, +Paris; good maker; red and +brown varnish, 1830.</p> + + +<p><span class="smcap">Baader</span>, J. A., & Co. Mittenwald; +wholesale producers on +cheapest terms; their Stainer +copies are good, 1854.</p> + +<p><span class="smcap">Bachelier.</span> Inferior French +maker, 1777-89.</p> + +<p><span class="smcap">Bachmann</span>, Carl Ludwig. An +excellent maker of Berlin, +1716-1800; violins, violas, +and ’cellos often mistaken for +Cremonas; a viola player; +maker to the Prussian Court; +founder of the Berlin Amateur +Concerts; inventor of screw +pegs for double-basses.</p> + +<p><span class="smcap">Bachmann</span>, O. Good maker, +of Halberstadt; first-rate repairer; +wrote on violin construction, +1835.</p> + +<p><span class="smcap">Bagatella</span> (Bagattella), Antonio. +Padua; good restorer; +much employed by German +princes; made few good instruments, +but wrote learnedly +on violin construction, 1750-82.</p> + +<p><span class="smcap">Bagatella</span> (Bagattella), Pietro. +Padua, 1760-66.</p> + +<p><span class="smcap">Bailly</span>, Paul. Mirecourt; fair +maker; Chicago Exhibitor, +1893.</p> + +<p><span class="smcap">Baines.</span> London; pupil of +Furber, 1780.</p> + +<p><span class="smcap">Bairhof</span>, Giorgio. Naples; +Gagliano school.</p> + +<p><span class="smcap">Bajoni</span>, Luigi. Milanese, 1840-76.</p> + +<p><span class="smcap">Baker</span>, Francis. London, 1696.</p> + +<p><span class="smcap">Baker</span>, John. Oxford, 1688-1720; +excellent tone; yellow +varnish; transition maker.</p> + +<p><span class="pagenum" id="Page_241">[Pg 241]</span></p> + +<p><span class="smcap">Balestrieri</span> (Balestieri), Pietro, +brother of Tommaso. +(<cite>See</cite> p. 88.)</p> + +<p><span class="smcap">Balestrieri</span> (Balestieri). Tommaso, +brother of Pietro. (<cite>See</cite> +p. 88.)</p> + +<p><span class="smcap">Ballantine.</span> Scotch, 1850-56.</p> + +<p><span class="smcap">Banks</span>, Benjamin, son of George +and Barbary Banks, 1727-95. +(<cite>See</cite> pp. 130-132.)</p> + +<p><span class="smcap">Banks</span>, Benjamin, second son +of Benjamin Banks (1727-95), +b. Sept. 13, 1754; d. +Jan. 22, 1820. (<cite>See</cite> pp. 130-132.)</p> + +<p><span class="smcap">Banks</span>, James and Henry, +fourth and sixth sons of B. +Banks (1727-95). (<cite>See</cite> pp. +130-132.)</p> + +<p><span class="smcap">Barbanti</span>, Silva Francesco. +A maker at Correggio, 1850.</p> + +<p><span class="smcap">Barbieri</span>, Francesco. Veronese; +early Guarnerian pattern, +1695.</p> + +<p><span class="smcap">Barnes</span>, Robert Pupil of +Thomas Smith; set up with +John Norris, 1765; employed +Aireton, but used their own +trade label.</p> + +<p><span class="smcap">Barnia</span>, Fedele. Milanese, +1716-51.</p> + +<p><span class="smcap">Baroux.</span> Paris; very good +bow-maker, 1830.</p> + +<p><span class="smcap">Barrett</span>, John. London; a +contemporary of Barak Norman +and Nathaniel Cross; +long and arched pattern; +yellow varnish; sweet tone; +labelled: “John Barrett, at +the Harp and Crown in Pickadilly, +London, 1731.”</p> + +<p><span class="smcap">Barton</span>, George. London; d. +cir. 1810.</p> + +<p><span class="smcap">Bassot</span>, Joseph. Paris; fine +maker; brown and reddish +varnish; earlier yellow and +inferior; label: “Joseph +Bassot, luthier, Paris, 1802.”</p> + +<p><span class="smcap">Baud.</span> Versailles; experimented +omitting sound-bar, +but not a success.</p> + +<p><span class="smcap">Bausch</span>, Ludwig Christian. +Good bow-maker; Naumburg +and Leipsic, 1805-71.</p> + +<p><span class="smcap">Bausch</span>, Excellent bow-maker; +silver medallist, Dresden; +friend of Spohr, 1840.</p> + +<p><span class="smcap">Beckmann</span> (Bekman), Sweno. +Stockholm; rough maker, +1700-6.</p> + +<p><span class="smcap">Bedler</span>, Norbert. Würzburg, +1723.</p> + +<p><span class="smcap">Bela</span>, Szepessy. Good contemporary +maker; worked +at Budapest and Munich, +and is now in London; copies +Strad and N. Amati.</p> + +<p><span class="smcap">Bellone</span>, Pietro Antonio, +known as Il Pescorino, +Milanese, 1694.</p> + +<p><span class="smcap">Bellosio</span>, Anselmo. Venetian; +pupil of Serafino and master +of M. A. Cerin, 1720-80.</p> + +<p><span class="smcap">Belviglieri</span>, Gregorio. Fairly +good Bolognese maker, 1742.</p> + +<p><span class="smcap">Benedict</span>, Jose. Cadiz, 1738.</p> + +<p><span class="smcap">Benedicti</span>, Donate de. Cremona, +1674.</p> + +<p><span class="smcap">Benti</span>, Matteo, b. 1579. Brescia; +contemporary of Maggini.</p> + +<p><span class="smcap">Beretta</span>, Felice. Como; +Guadagnini school; bow-maker, +1760-85.</p> + +<p><span class="smcap">Bergé.</span> Toulouse, 1771.</p> + +<p><span class="smcap">Bergonzi</span>, Benedetto, d. 1840. +(<cite>See</cite> p. 86.)</p> + +<p><span class="smcap">Bergonzi</span>, Carlo. Cremona; +the first of the great Bergonzi +family of makers; b. (?); d. +1747.</p> + +<p><span class="smcap">Bergonzi</span>, Carlo, third son of +Michel Angelo. (<cite>See</cite> p. 86.)</p> + +<p><span class="smcap">Bergonzi</span> (Baganzi), Francesco. +Named as early as +1687.</p> + +<p><span class="smcap">Bergonzi</span>, Michel Angelo, son +of Carlo; b. 1722; d. after +1765.</p> + +<p><span class="smcap">Bergonzi</span>, Nicola, eldest son +of Michel Angelo.</p> + +<p><span class="smcap">Bergonzi</span>, Zosimo, brother of +Nicola.</p> + +<p><span class="pagenum" id="Page_242">[Pg 242]</span></p> + +<p><span class="smcap">Bernardel</span>, Auguste Sébastien +Philippe. An excellent +maker who worked under +Lupôt and Gand. Firm: +“Bernardel et fils,” then +“Gand et Bernardel”; Paris +(1849) gold medal, London +(1855) gold medal.</p> + +<p><span class="smcap">Bernardel</span> Frères. Ernst +Auguste and Gustave Adolphe, +sons of Sébastien +Philippe.</p> + +<p><span class="smcap">Bertasio</span>, Luigi. Piadena, +17—.</p> + +<p><span class="smcap">Bertassi</span>, Ambrogio. Piadena, +1730.</p> + +<p><span class="smcap">Bertet</span>, Joseph R. French +maker; little known, 1754.</p> + +<p><span class="smcap">Bertrand</span>, Nicolas. Paris; a +few early fiddles, 1686-1735.</p> + +<p><span class="smcap">Betts</span>, John Edward, known +as “Old John Betts”; b. +1755, at Stamford, Lincolnshire; +d. March 1823; was +buried at Cripplegate Church; +pupil of Richard Duke, senior. +(<cite>See</cite> p. 132.)</p> + +<p><span class="smcap">Betts</span> (Ned), Edward, nephew +of John Betts; like him a +pupil of Richard Duke. He +died between 1815 and 1820.</p> + +<p><span class="smcap">Bianchi</span>, Nicola. Pupil of +Guadagnini, 1800 to 1875; +Genoa, Cremona, and Paris; +fair maker.</p> + +<p><span class="smcap">Bindernagel.</span> Gotha, 1745-1804; +inferior maker.</p> + +<p><span class="smcap">Bittner</span>, David. Viennese, +1862-80; made chiefly for +America.</p> + +<p><span class="smcap">Blair</span>, John. Edinburgh, 1820.</p> + +<p><span class="smcap">Blaise</span>, Mirecourt. 1820; indifferent.</p> + +<p><span class="smcap">Blanchard</span>, Paul François, +1865-94; worked with J. B. +Vuillaume; very good violins; +his workmen turn out good +cheap ones; follows Strad; +Mirecourt and Lyons.</p> + +<p><span class="smcap">Bodio</span>, Giambattista. Venice, +1792-1832.</p> + +<p><span class="smcap">Boivin</span>, Claude. Paris, 1735-53; +fair maker.</p> + +<p><span class="smcap">Bomberghi</span>, Lorenzo. Florentine, +seventeenth century.</p> + +<p><span class="smcap">Bomé</span>, Thomas. Inferior; +French.</p> + +<p><span class="smcap">Booth</span>, William. English; +1779-1858; good repairer.</p> + +<p><span class="smcap">Booth</span>, William, son of W. +Booth, senior; b. 1816, Leeds; +d. 1856; a clever workman.</p> + +<p><span class="smcap">Boquay</span> (Bocquay), Jacques, +b. at Lyons. 1700-30. (<cite>See</cite> +p. 105.)</p> + +<p><span class="smcap">Borbon</span> (Bourbon), Gaspar. +End of sixteenth century; +Brussels; Gaspar model.</p> + +<p><span class="smcap">Borelli</span>, Andreas, 1730-47; +Parma; Guadagnini model.</p> + +<p><span class="smcap">Borlon</span>, François. Antwerp +maker, 1680-1710.</p> + +<p><span class="smcap">Boucher.</span> London, 1764.</p> + +<p><span class="smcap">Boullangier</span>, Charles, b. 1823, +Mirecourt; d. October, 1888. +Learnt his trade in Mirecourt +till 1843; worked with Vuillaume +and Gand and Bernardel, +also for Edward +Withers, London; good +copyist of Strad.</p> + +<p><span class="smcap">Boumeester</span> (Baumeester). +Amsterdam maker, 1637-68.</p> + +<p><span class="smcap">Bourdet</span>, Jacques. Fair +French maker, 1751.</p> + +<p><span class="smcap">Bourgard</span>, Jean. Worked in +Nancy about 1780-87.</p> + +<p><span class="smcap">Boussu.</span> Bruxelles about 1750-80; +fairly good Amati pattern.</p> + +<p><span class="smcap">Braglia</span>, Antonio. Modena, +eighteenth century.</p> + +<p><span class="smcap">Brandiglioni.</span> Brescia; copied +Maggini.</p> + +<p><span class="smcap">Brandl</span>, Karl. Budapest; +exhibited in London Exhibition, +1862.</p> + +<p><span class="smcap">Branzo</span>, Barbaro Francesco. +Padua, 1660.</p> + +<p><span class="smcap">Bremeister</span>, Jan. Amsterdam, +1707.</p> + +<p><span class="smcap">Breton</span>, J. F. Paris, 1740-80.</p> + +<p><span class="pagenum" id="Page_243">[Pg 243]</span></p> + +<p><span class="smcap">Breton</span>, Le, b. 1780, at Mirecourt. +No great value; 1812 +to 1830.</p> + +<p><span class="smcap">Broschi</span>, Carlo. Parma, 1730-44.</p> + +<p><span class="smcap">Brown</span>, James, b. 1755, d. Sept. +1830. Silk weaver in Shoreditch, +London; pupil of +Thomas Kennedy; chiefly a +repairer of instruments.</p> + +<p><span class="smcap">Brown</span>, James, jun., son of the +above; both father and son +fair workmen; b. Nov. 1786; +d. 1860, at White Lion Street, +Norton Folgate; apprenticed +to his father, but was principally +employed to make bows.</p> + +<p><span class="smcap">Brown</span>, son and pupil of James +Brown, jun. When about +twenty years old, ceased to +make instruments.</p> + +<p><span class="smcap">Browne</span>, John. Cornhill, London, +1743; copied Nicholas +Amati.</p> + +<p><span class="smcap">Brubach</span>, Antoine, b. Jan. 22, +1847, Mirecourt; head of +“Klein et Cie.,” Rouen.</p> + +<p><span class="smcap">Brugère</span>, Charles Georges, b. +Nov. 10, 1865, at Mirecourt; +excellent maker; only labels +what he makes himself.</p> + +<p><span class="smcap">Brugère</span>, Charles Malakoff, d. +1894. Son of above; made +about 100 good fiddles; the +family still work at Mirecourt.</p> + +<p><span class="smcap">Brugère</span>, François, brother of +Charles Joseph Brugère. Had +three sons, all makers.</p> + +<p><span class="smcap">Buchstadter</span> (Buchstetter), +Gabriel David. Ratisbon, +1752; Cremona flat pattern; +good orchestral instruments.</p> + +<p><span class="smcap">Budiani</span>, Giavetta. Some of +his large bass viols adapted +for double-basses with four +strings; contemporary of G. +P. Maggini.</p> + +<p><span class="smcap">Buonfigliuoli</span>, Pier Francesco. +Florentine, seventeenth +century.</p> + +<p><span class="smcap">Burgle</span>, Johann. A maker in +Griezbach, 1828.</p> + +<p><span class="smcap">Busas</span>, Domenico. Vicenza, +1740.</p> + +<p><span class="smcap">Busseto</span> (Buseto), Giammaria +del. Cremonese viol-maker, +1540-80; said to have taught +Andrea Amati.</p> + +<p><span class="smcap">Bussot.</span> Paris, 1788.</p> + +<p><span class="smcap">Buthod.</span> Cheap Mirecourt +maker; good strong fiddles +fit for orchestral use; turned +out about 900 instruments a +year; contemporary of Vuillaume.</p> + + +<p><span class="smcap">Cabroli</span>, Lorenzo. Milan about +1716; indifferent.</p> + +<p><span class="smcap">Cabroly.</span> Toulouse about +1740-47; fair.</p> + +<p><span class="smcap">Caeste</span>, Gaetano. Cremona in +1677.</p> + +<p><span class="smcap">Caesto</span> (Caesta), Pietro Antonio +della. Treviso, 1660-80; +copied Strad.</p> + +<p><span class="smcap">Cahusac.</span> London about 1788. +Worked with Banks’s sons.</p> + +<p><span class="smcap">Calcani</span> (Calcagni), Bernardo. +In Genoa, 1710-50; copied +Strad carefully and with good +effect.</p> + +<p><span class="smcap">Calonardi</span>, Marco. Cremona, +seventeenth century.</p> + +<p><span class="smcap">Calot</span> (Callot), b. 1810. Paris +and Mirecourt; fine workman: +good tone.</p> + +<p><span class="smcap">Calvarolla</span>, Bartolommeo, of +Torre Baldone (Bergamo). +About 1753-67, Bologna and +Bergamo; fair.</p> + +<p><span class="smcap">Camilli</span>, Camillus (Camilus di +Camila). Mantua about 1739-50; +copied Strad; resembles +also Landolfi; excellent tone.</p> + +<p><span class="smcap">Camillio</span>, Davido. Cremona, +1755.</p> + +<p><span class="smcap">Cappa</span>, Giofredo (Goffredo), +1590-1640. Worked with the +Amatis; unequal in work; his +instruments have often been +cut down.</p> + +<p><span class="pagenum" id="Page_244">[Pg 244]</span></p> + +<p><span class="smcap">Cappa</span>, Giachimo (Gioacchino) +and Giuseppe. Working in +Saluzzio, and in Turin about +1661-1712; indifferent.</p> + +<p><span class="smcap">Carcassi</span>, Lorenzo Francesco +and Tommaso. Florence, +about 1735-58; not first-rate.</p> + +<p><span class="smcap">Carlo</span>, Giuseppe. Milan, 1769.</p> + +<p><span class="smcap">Carlomordi</span>, Carlo. Verona in +1654.</p> + +<p><span class="smcap">Caron.</span> Versailles, 1775-85. +Maker to the Queen; not +remarkable.</p> + +<p><span class="smcap">Carter</span>, John. Worked in London, +1780-90, for John Betts. +Good; often sold for Betts’.</p> + +<p><span class="smcap">Casini</span> (Cassini), Antonio. +Modena about 1660 to 1700. +Made large violoncellos; fair.</p> + +<p><span class="smcap">Caspan</span>, Giampietro. Venice +about 1650; Amati pattern; +violins small, yellow varnish.</p> + +<p><span class="smcap">Cassanelli</span>, Giovanni. Ciano +in 1777.</p> + +<p><span class="smcap">Cassineau.</span> Paris; maker of +all sorts.</p> + +<p><span class="smcap">Castagnery</span> (Castagneri), +Andrea. Worked in Paris, +1732-57; he made good instruments.</p> + +<p><span class="smcap">Castagnery</span> (Castagneri), Gian +Paolo. A maker from Cremona, +who worked in Paris +about 1630-62; very good and +sweet tone.</p> + +<p><span class="smcap">Castellani</span>, Luigi, son of Pietro +Castellani. Florence, 1809-84; +good restorer of fiddles, +but made none.</p> + +<p><span class="smcap">Castellani</span>, Pietro, b. Florence, +second half of the eighteenth +century. Made only a +few violins.</p> + +<p><span class="smcap">Castello</span>, Paolo. Genoa about +1750-80; fair.</p> + +<p><span class="smcap">Castro.</span> Worked in Venice, +1680-1720; indifferent appearance, +but good wood.</p> + +<p><span class="smcap">Catenar</span> (Catenari), Enrico. +Turin about 1670; fair; a +follower of Cappa.</p> + +<p><span class="smcap">Cati</span>, Pier Antonio. Florence, +1741; famous for his “kits.”</p> + +<p><span class="smcap">Cavalorio.</span> Geneva, 1725.</p> + +<p><span class="smcap">Cellini</span>, Giovanni, the father +of Benvenuto Cellini, b. in +Florence; d. there of the pest, +1527 or 1528. Architect; lute +and viol maker. His viols, +made about 1500-5, had a +great reputation.</p> + +<p><span class="smcap">Celoniati</span> (Celionati), Giam +Francesco, 1732. Good maker; +Amati pattern; yellow varnish. +“Joannes Franciscus +Taurini, anno 1732.”</p> + +<p><span class="smcap">Cerin</span>, Marc Antonio. A +maker in Venice, 1780-93; +pupil of Anselmo Bellosio; +fair maker.</p> + +<p><span class="smcap">Ceruti</span>, Enrico, son of Giuseppe +Ceruti; b. 1808; d. Oct. 20, +1883. Cremona, at 14 Via +Borgo Spera; made about 365 +instruments; much esteemed +in Italy.</p> + +<p><span class="smcap">Ceruti</span>, Giovanni Battista, +1755, Cremona; d. 1817. Pupil +of Lorenzo Storioni; good; +made about 500 instruments; +varnish yellow.</p> + +<p><span class="smcap">Ceruti</span>, Giuseppe, son and +successor of Giovanni Battista, +1787; d. 1860, Mantua. Fair +maker; chiefly repairer.</p> + +<p><span class="smcap">Challoner</span>, Thomas. Worked +in London in the eighteenth +century.</p> + +<p><span class="smcap">Champion</span>, Jean Baptiste. Paris +in 1783.</p> + +<p><span class="smcap">Champion</span>, René. Paris, 1731; +finished and graceful; varnished +like Boquay.</p> + +<p><span class="smcap">Chanot</span>, François, son of a +musical instrument maker in +Mirecourt; b. 1787, d. 1828. +(<cite>See</cite> p. 112.)</p> + +<p><span class="smcap">Chanot</span>, Georges, a brother of +François; b. March 26, 1801; +d. Jan. 10, 1883.</p> + +<p><span class="smcap">Chanot</span>, Georges, son of +Georges Chanot.</p> + +<p><span class="pagenum" id="Page_245">[Pg 245]</span></p> + +<p><span class="smcap">Chanot</span>, G. A. Manchester.</p> + +<p><span class="smcap">Chappuy</span> (Chapuy), Nicolas +Augustin. Paris about 1732-76; +fairly good; badly varnished. +Fr. Habeneck played +on one of his violins for many +years.</p> + +<p><span class="smcap">Chardon</span>, Marie Joseph, son-in-law +and pupil of Georges +Chanot, sen.; b. May 22, 1843, +Paris. He succeeded his +father-in-law in 1872; good +maker; better restorer.</p> + +<p><span class="smcap">Chardon</span>, Marie Joseph Antoine +Georges. Worked under +his father.</p> + +<p><span class="smcap">Charle.</span> Paris in 1748.</p> + +<p><span class="smcap">Charles</span>, Theress. From Mirecourt, +but settled in London, +in King Street, Soho.</p> + +<p><span class="smcap">Charotte.</span> Mirecourt; d. 1836; +settled in Rouen in 1830; +indifferent.</p> + +<p><span class="smcap">Chatelain</span>, François. About +1777-91; good maker; collaborated +sometimes with Renault.</p> + +<p><span class="smcap">Chéron</span>, Nicolas. Paris, 1658-91.</p> + +<p><span class="smcap">Cherpitel</span>, Nicolas Emile. +Mirecourt, 1841-93; worked +with the Gands at Paris; very +good workman.</p> + +<p><span class="smcap">Chevrier</span>, André Augustin, b. +in Mirecourt. Paris, and then +in Brussels, 1838.</p> + +<p><span class="smcap">Chiavellati</span>, Domenico. Lonigo +in 1796.</p> + +<p><span class="smcap">Chibon</span>, Jean Robert. Paris, +1775-85; indifferent.</p> + +<p><span class="smcap">Chiocchi</span> (Chiocci), Gaetano. +In Padua nineteenth century; +good maker and repairer.</p> + +<p><span class="smcap">Chrétien</span>, Hippolyte, 1845-89. +Lyons; excellent maker and +restorer.</p> + +<p><span class="smcap">Christa</span>, Joseph Paul. About +1730-40.</p> + +<p><span class="smcap">Christophle</span>, Jean. Avignon, +1655.</p> + +<p><span class="smcap">Clark.</span> London, living at +Clerkenwell. A pupil of +Matthew Furber.</p> + +<p><span class="smcap">Claudot</span>, Augustin. Paris, +beginning of eighteenth century; +large pattern, yellow +varnish; wood good, work +carefully finished; branded +his instruments with his name, +“Augustin Claudot.”</p> + +<p><span class="smcap">Claudot</span>, Charles. Paris; but +probably came from Mirecourt; +indifferent.</p> + +<p><span class="smcap">Clément.</span> Paris, about 1815-40, +in the rue des Bonnes-Enfants; +a good deal sought after.</p> + +<p><span class="smcap">Coffe-Goguette.</span> Mirecourt, +1834; excellent maker; fine +tone.</p> + +<p><span class="smcap">Cole</span>, James. Manchester; +pupil of Tarr and George +Crask, 1858.</p> + +<p><span class="smcap">Cole</span>, Thomas. London about +1672-90; good tenor maker.</p> + +<p><span class="smcap">Collier</span>, Samuel. London, at +“Corelli’s Head” on London +Bridge, about 1750-55.</p> + +<p><span class="smcap">Collier</span>, Thomas. London, +1775.</p> + +<p><span class="smcap">Collin</span>, Claude Nicolas. Mirecourt; +d. 1864; pupil of N. F. +Vuillaume, Brussels.</p> + +<p><span class="smcap">Collin-Mézin</span>, Charles Jean +Baptiste, son of C. N. Collin. +Mirecourt, 1841-89; excellent +maker and restorer; good +Strad and Amati copyist.</p> + +<p><span class="smcap">Collingwood</span>, Joseph. Worked +in London about 1760, at the +“Golden Spectacles” on London +Bridge.</p> + +<p><span class="smcap">Contreras</span>, Joseph, 1710-80. +Madrid or “Granadino”; beautiful +Strad copyist; has passed +for Strad.</p> + +<p><span class="smcap">Contreras</span>, son of Joseph +Contreras.</p> + +<p><span class="smcap">Conway</span>, William. London +about 1745-50.</p> + +<p><span class="smcap">Cordano</span>, Jacopo Filippo. +Genoa about 1774.</p> + +<p><span class="pagenum" id="Page_246">[Pg 246]</span></p> + +<p><span class="smcap">Cornelli</span>, Carlo. Cremona, +1702.</p> + +<p><span class="smcap">Corsby</span>, George. London; believed +to be a brother of +Corsby of Northampton.</p> + +<p><span class="smcap">Corsby.</span> Northampton about +1780; chiefly made double-basses.</p> + +<p><span class="smcap">Costa</span>, Agostino. Brescia and +Venice in the seventeenth +century.</p> + +<p><span class="smcap">Costa</span>, Marco della. Treviso, +1660-80.</p> + +<p><span class="smcap">Costa</span>, Pietro Antonio della. +Worked in Treviso about +1740-65; fair Amati model.</p> + +<p><span class="smcap">Cousineau</span>, Georges, 1753-1824. +In 1788 was entitled +“Luthier de la reine”; made +all sorts of instruments.</p> + +<p><span class="smcap">Cramond</span>, Charles. A maker +in Aberdeen, 1821-34.</p> + +<p><span class="smcap">Crask</span>, George. Worked in +various places, Salford, Manchester, +etc.; prolific worker; +Italian pattern.</p> + +<p><span class="smcap">Cross</span>, Nathaniel. London +about 1700-51. (<cite>See</cite> p. 125.)</p> + +<p><span class="smcap">Crowther</span>, John, 1755-1810. +He worked occasionally for +John Kennedy.</p> + +<p><span class="smcap">Cuchet</span>, Gaspard, 1729.</p> + +<p><span class="smcap">Cunault</span>, Georges, b. 1856, +Paris; Miremont, 1874-82; a +good workman.</p> + +<p><span class="smcap">Cuny.</span> Paris about 1740.</p> + +<p><span class="smcap">Cuthbert</span>. Maker of viols and +violins in London, seventeenth +century; fair.</p> + +<p><span class="smcap">Cuypers</span>, Johannes. The +Hague about 1779.</p> + + +<p><span class="smcap">Daniel.</span> Antwerp about 1636-56; +two specimens in Antwerp +Cathedral.</p> + +<p><span class="smcap">Daniel</span>, Charles. Marseilles in +1762.</p> + +<p><span class="smcap">Darche</span>, C. F. Brussels; was +a pupil of N. F. Vuillaume +(a brother of the Parisian +maker); better restorer than +maker.</p> + +<p><span class="smcap">Darche</span>, Nicholas. Aix-la-Chapelle.</p> + +<p><span class="smcap">David.</span> A contemporary of +Pierray; Paris about 1730; +indifferent.</p> + +<p><span class="smcap">Davidson</span>, Hay. Huntly, 1870.</p> + +<p><span class="smcap">Davis</span>, Richard. London; employed +by Norris and Barnes; +but when Norris died in 1818, +he succeeded to the business. +He knew little of violin-making, +and always remained +more of a dealer in, than a +maker of, instruments.</p> + +<p><span class="smcap">Davis</span>, William. London (in +1846 sold business to Edward +Withers); restored violins; +Maucotel worked for him.</p> + +<p><span class="smcap">Day</span>, John. Ingenious amateur +maker, devoted to reproduction +of Cremonas, nineteenth +century.</p> + +<p><span class="smcap">Dearlove</span>, Mark. Leeds, 1812-20.</p> + +<p><span class="smcap">Dearlove</span>, Mark William, son +of Mark Dearlove. Leeds, +1828-62; employed good workmen—Absam, +Gough, Fryer.</p> + +<p><span class="smcap">Decombe</span> (not De Comble). +Paris, eighteenth century.</p> + +<p><span class="smcap">De Comble</span>, Ambroise, b. at +Tournai, Belgium, end of the +seventeenth century; worked +till 1760; said to have been +a pupil of Antonio Stradivari +at Cremona; instruments +scarce, well made, of excellent +wood, and have a rich +tone.</p> + +<p><span class="smcap">Deconet</span>, Michele. Venice +about 1742-79; Cremona +school.</p> + +<p><span class="smcap">Defresne</span>, Pierre. Rouen, 1730.</p> + +<p><span class="smcap">Dehaye</span> (Deshayes), nephew +and only pupil of Salomon, +1775-1825, Paris; more dealer +than maker; sold all sorts.</p> + +<p><span class="smcap">Dehommais</span>, 1870. Successful +amateur maker.</p> + +<p><span class="pagenum" id="Page_247">[Pg 247]</span></p> + +<p><span class="smcap">De Lannoy</span>, N.J. Lille about +1740-75; fair maker.</p> + +<p><span class="smcap">Delanoe</span>, Pierre Jean. Paris, +1754.</p> + +<p><span class="smcap">Delanoix.</span> Brussels about +1760; good maker.</p> + +<p><span class="smcap">Delany</span> (Delaney), John. Dublin +in 1808; an original +egotist, 1808. Label bears: +“Made by John Delany, in +order to perpetuate his memory +in future ages. Dublin, +1808. Liberty to all the +world, black and white.”</p> + +<p><span class="smcap">Delau</span>, Lucien, 1836-48. On +the death of Charotte he +joined Jeandel in violin-making, +and they continued +the business at Rouen.</p> + +<p><span class="smcap">Dennis</span>, Jesse, 1795-1855. +London; apprenticed to John +Crowther, 1805; worked under +Matthew Furber.</p> + +<p><span class="smcap">Derazey</span>, J. Mirecourt; successor +to J. Nicolas, jun.; sold +his fiddles; made good cheap +ones, from 5 to 150 francs; a +prolific firm.</p> + +<p><span class="smcap">Deroux</span>, Sébastien. Mirecourt +and Paris; b. 1848; making +in 1898; good restorer; best +Cremona models. Signs: +“A. S. D.”</p> + +<p><span class="smcap">Deschamps</span>, Claude. Paris, +1783-85.</p> + +<p><span class="smcap">Desjardins.</span> Caen, 1763.</p> + +<p><span class="smcap">Despons</span>, Antoine. Paris about +1610; rare, but not very +good.</p> + +<p><span class="smcap">Desrousseau.</span> Eighteenth +century.</p> + +<p><span class="smcap">Devereux</span>, John. He worked +with B. Simon Fendt in +London; migrated to Melbourne.</p> + +<p><span class="smcap">Dickenson</span> (Dickinson), Edward. +Strand, London, about +1750-90; Stainer model; inferior.</p> + +<p><span class="smcap">Dickeson</span> (Dickson), John, b. +in Stirling. London and Cambridge, +about 1750-80; excellent.</p> + +<p><span class="smcap">Didelin</span>, Joseph. Nancy, +1765-75; poor maker.</p> + +<p><span class="smcap">Didion</span>, Gabriel. Mirecourt; +d. 1881.</p> + +<p><span class="smcap">Diehl</span> (or Diel, as it was originally +spelt). Friedrich, son +of Nicolaus Diehl; 1814-67; +Darmstadt; fair.</p> + +<p><span class="smcap">Diehl</span> (Diel), Heinrich, a son +of Johann Diehl.</p> + +<p><span class="smcap">Diehl</span> (Diel), Jacob, son of +Nicolaus Diehl; d. 1873; Bremen +in 1834, then Hamburg.</p> + +<p><span class="smcap">Diehl</span> (Diel), Johann, a brother +of Nicolaus Diehl. Mayence.</p> + +<p><span class="smcap">Diehl</span>, Martin. Mayence, +eighteenth century; work +poor.</p> + +<p><span class="smcap">Diehl</span> (Diel), Nicolaus, b. 1779, +d. 1851. Son of Martin Diehl, +to whose business he succeeded.</p> + +<p><span class="smcap">Diehl</span> (Diel), Nicolaus Louis, +d. 1876. Was a son of Jacob +Diehl; worked in Hamburg; +he published a work on +Italian violin-makers.</p> + +<p><span class="smcap">Dieulafait.</span> A viol-maker; +Paris in 1720.</p> + +<p><span class="smcap">Dini</span>, Giambattista. Lucignano +in 1707.</p> + +<p><span class="smcap">Ditton.</span> London about 1700. +In Thomas Britton’s Collection +was a “good violin by +Ditton.”</p> + +<p><span class="smcap">Dodd</span>, Edward, b. 1705, Sheffield; +d. 1810, London, at the +age of 105. First bow-maker +of this name. He lived in +Salisbury Court, Fleet Street; +buried in St Bride’s Church.</p> + +<p><span class="smcap">Dodd</span>, James, second son of +Edward. Also made bows.</p> + +<p><span class="smcap">Dodd</span>, James, son of James +Dodd, sen.; was a good bow-maker.</p> + +<p><span class="smcap">Dodd</span>, John, eldest son of Edward +Dodd; b. 1752. (<cite>See</cite> +p. 116.)</p> + +<p><span class="pagenum" id="Page_248">[Pg 248]</span></p> + +<p><span class="smcap">Dodd</span>, Thomas, third son of +Edward Dodd. Employed +Bernhard Fendt and Lott; +proud of his varnish; an all-round +man, and dealer in all +sorts of instruments; violoncellos +fetch £50.</p> + +<p><span class="smcap">Dodd</span>, Edward and Thomas, +sons of Thomas Dodd, sen. +Both learnt from Bernhard +Fendt, and carried on the +business at St Martin’s Lane.</p> + +<p><span class="smcap">Dominicelli</span> (Domincelli). +Ferrara, 1695-1715; studied +in Brescia; copied the Amati +pattern; varnish of a golden +colour.</p> + +<p><span class="smcap">Dominichino</span>, Giuseppe. Verona, +1700; Amati pattern.</p> + +<p><span class="smcap">Donato</span>, Serafino. Venice, +1410-11.</p> + +<p><span class="smcap">Doni</span>, Rocco. A priest in Florence, +1600-60; made lutes and +violins.</p> + +<p><span class="smcap">Dopfer</span> (Döpfer), Nicolaus. +Mayence (?) about 1768; instruments +well made, slightly +arched; sound-holes small but +well cut, varnish brown.</p> + +<p><span class="smcap">Dorant</span>, William. Spitalfields, +1814.</p> + +<p><span class="smcap">Dorffel</span> (Dörffel), Johann Andreas. +A violin and lute +maker in Klingenthal, Saxony, +in 1743.</p> + +<p><span class="smcap">Drinda</span>, Giacomo. Pianzo, +eighteenth century.</p> + +<p><span class="smcap">Drögmeyer</span>, Hermann August. +Bremen; wrote a book on +violins, 1891.</p> + +<p><span class="smcap">Drouleau</span> or Droulot. Paris, +1788-1800.</p> + +<p><span class="smcap">Drouyn</span>, Dimanche. Paris.</p> + +<p><span class="smcap">Duchéron</span>, Mathurin. Contemporary +of Boquay, working +in Paris in 1714.</p> + +<p><span class="smcap">Duiffoprugcar</span> (Duiffoproucart), +Gaspard, 1514. (<cite>See</cite> +p. 18).</p> + +<p><span class="smcap">Duke</span>, Richard. London about +1750-80. (<cite>See</cite> p. 132.)</p> + +<p><span class="smcap">Duke</span>, Richard, son of Richard +Duke.</p> + +<p><span class="smcap">Dulfenn</span>, Alexander. Leghorn +in 1699.</p> + +<p><span class="smcap">Duménil</span>, N. Paris, 1786.</p> + +<p><span class="smcap">Dumesnil</span>, Jacques. Paris +about 1655-60.</p> + +<p><span class="smcap">Duncan.</span> Aberdeen, 1762.</p> + +<p><span class="smcap">Duncan</span>, George. Glasgow, +1887.</p> + +<p><span class="smcap">Durfel</span> (Dürfell), J. G. Altenburg, +1778; double-basses +excellent; violins very arched; +muddy dark brown varnish.</p> + +<p><span class="smcap">Du Riez</span>, Nicolas. A good +French maker; Abbeville, +1663.</p> + + +<p><span class="smcap">Eberle</span>, Johann Ulrich. Prague +about 1730-60; good Cremona +copyist.</p> + +<p><span class="smcap">Eberti</span>, Tommaso. Italian +maker about 1730-50.</p> + +<p><span class="smcap">Edlinger</span>, Thomas, b. in Bohemia, +and was living in Prague +1712-15. Good.</p> + +<p><span class="smcap">Eglington.</span> London in 1802; +fair tone.</p> + +<p><span class="smcap">Elément</span>, Jean Laurent. Paris +in 1783.</p> + +<p><span class="smcap">Elsler</span> (Esler), Johann Joseph. +Mayence about 1715-30; bass +viol maker; transition on +verge of the violin.</p> + +<p><span class="smcap">Emiliani</span>, Francesco de. Rome +about 1715-20; fine workman; +yellow varnish.</p> + +<p><span class="smcap">Engleder</span>, Andreas, Munich, +1854; an original designer.</p> + +<p><span class="smcap">Engleder</span>, Ludwig. Bamberg, +1854; German pattern; fair +tone.</p> + +<p><span class="smcap">Ernst</span>, Franz Anton, b. Dec. +3, 1745, Georgenthal, Bohemia; +player and maker; +Stradivari pattern, and some +say approached Stradivari +tone.</p> + +<p><span class="smcap">Eulry-Clément.</span> Mirecourt, +1800.</p> + +<p><span class="pagenum" id="Page_249">[Pg 249]</span></p> + +<p><span class="smcap">Eury.</span> About 1810-30, Paris; an +excellent bow-maker, 1820. +He was working at 20 rue des +Lyonnais-Saint-Jacques in +1820. His bows are justly +celebrated, and are thought to +rival even those of François +Tourte. He generally marked +them with his name.</p> + +<p><span class="smcap">Evangelisti.</span> Florence, +eighteenth century.</p> + +<p><span class="smcap">Evans</span>, Richard. London about +1742-50.</p> + +<p><span class="smcap">Eve</span>, Jacques. German model, +arched; brown varnish; good +workman.</p> + + +<p><span class="smcap">Fabris</span>, Luigi. Venice in +nineteenth century.</p> + +<p><span class="smcap">Facini</span>, Agostino. A monk at +Bologna, 1732-42; delicate +workman; yellow varnish.</p> + +<p><span class="smcap">Falaise.</span> French follower of +Pique; Cremona pattern; +yellow varnish.</p> + +<p><span class="smcap">Farinato</span>, Paolo. Venice about +1700-30; fair maker, Serafino +pattern.</p> + +<p><span class="smcap">Febbre.</span> Amsterdam in 1762.</p> + +<p><span class="smcap">Fendt</span>, Bernhard. (<cite>See</cite> p. 132.)</p> + +<p><span class="smcap">Fendt</span>, Bernhard Simon. (<cite>See</cite> +p. 132.)</p> + +<p><span class="smcap">Fendt</span>, Francis, fourth son of +Bernhard Fendt. (<cite>See</cite> p. 132.)</p> + +<p><span class="smcap">Fendt</span>, François, best known +in France as Fent.</p> + +<p><span class="smcap">Fendt</span>, Jacob, third son of +Bernhard Fendt.</p> + +<p><span class="smcap">Fendt</span>, Martin, second son of +Bernhard Fendt.</p> + +<p><span class="smcap">Fendt</span>, William, second son of +Bernhard Simon.</p> + +<p><span class="smcap">Ferati</span>, Pietro. Sienna, 1754-64; +poor maker.</p> + +<p><span class="smcap">Féret.</span> A pupil of Médard; +Paris, 1708; good maker.</p> + +<p><span class="smcap">Ferguson</span>, Donald. Huntly, +Aberdeenshire.</p> + +<p><span class="smcap">Ferguson & Son.</span> Edinburgh, +beginning of the nineteenth +century.</p> + +<p><span class="smcap">Ferrari</span>, Agostino. Budrio +(Italy), eighteenth century.</p> + +<p><span class="smcap">Ferrari</span>, Alfonso. Carpi (Modena), +1738.</p> + +<p><span class="smcap">Ferrari</span>, Carlo. Sienna in +1740.</p> + +<p><span class="smcap">Feury</span> or Ferry, François, +son-in-law of Leclerc the +violin-maker. Paris about +1750-60; violins small pattern, +the sound-holes small, +varnish red, work good.</p> + +<p><span class="smcap">Fichtl</span>, Martin. Vienna, 1750-57; +careful in wood and +varnish.</p> + +<p><span class="smcap">Ficker</span>, Johann Christian. +Cremona, 1720-22; German +style.</p> + +<p><span class="smcap">Ficker</span>, Johann Gottlieb. +Cremona about 1788-89.</p> + +<p><span class="smcap">Fiker</span>, Johann Christian. Neukirchen +(Saxony), eighteenth +century.</p> + +<p><span class="smcap">Fiorillo</span>, Giovanni. Ferrara, +1780; German and Italian +patterns; violoncellos are +best.</p> + +<p><span class="smcap">Fiorini</span>, Giuseppe, son of +Raffaele Fiorini, b. 1867. Excellent +maker.</p> + +<p><span class="smcap">Fiorini</span>, Raffaele, b. at Pianoro. +Worked at Bologna.</p> + +<p><span class="smcap">Firth</span>, G. Leeds, 1836; pupil +of William Booth, sen.</p> + +<p><span class="smcap">Fiscer</span>, Carlo and Giuseppe, +brothers. Milan about 1760-64; +inclined to German style, +but good varnish.</p> + +<p><span class="smcap">Fischer</span>, Anton, b. 1794, d. +1879. Vienna.</p> + +<p><span class="smcap">Fischer</span>, Zacharie, b. Nov. 5, +1730, Würzburg; d. there +Nov. 27, 1812; first began +baking his wood to age it; +his violins are still liked.</p> + +<p><span class="smcap">Fleuri</span> (Fleury), Jean François. +Paris, 1783-85.</p> + +<p><span class="smcap">Fleury</span>, Benoist. Paris, 1751-91; +fair maker.</p> + +<p><span class="smcap">Florenus</span> (Florinus), Guidantus +or Florentus. Bologna<span class="pagenum" id="Page_250">[Pg 250]</span> +about 1700-60; far from first-class.</p> + +<p><span class="smcap">Fonclause</span>, Joseph (called +“Le Mayeux”), b. 1800 à +la Conté; d. 1865, Paris. +Mirecourt, and employed by +Vuillaume.</p> + +<p><span class="smcap">Forcheville</span>, J. Baptiste. +Early pochette-maker.</p> + +<p><span class="smcap">Forster</span> (Foster or Forrester), +John, b. Kirkandrews, on the +Esk.</p> + +<p><span class="smcap">Forster</span>, Simon Andrew, son +of William Forster (1764-1824). +(<cite>See</cite> p. 126.)</p> + +<p><span class="smcap">Forster</span>, William, son of John +Forster; b. 1713-14; d. 1801. +(<cite>See</cite> p. 126.)</p> + +<p><span class="smcap">Forster</span>, William (“Old +Forster”), son of William +Forster (1713-1801). (<cite>See</cite> +p. 126.)</p> + +<p><span class="smcap">Forster</span>, William (“Young +Forster”), son of William +Forster (1739-1808). (<cite>See</cite> +p. 126.)</p> + +<p><span class="smcap">Forster</span>, William, eldest son +of William Forster, 1764-1824. +(<cite>See</cite> p. 126.)</p> + +<p><span class="smcap">Fraiser</span>, Giorgio. Cremona, +1666; worked for Nicola +Amati.</p> + +<p><span class="smcap">Franck.</span> Ghent, 1800-30; +chiefly a clever repairer.</p> + +<p><span class="smcap">Frankland.</span> London, 1785; +employed by the William +Forsters.</p> + +<p><span class="smcap">Frebrunet</span>, Jean. Paris +1750-60; good maker; yellow +varnish.</p> + +<p><span class="smcap">Fritsche</span> (Fritzche), Samuel. +Leipzig, 1787; pupil of C. H. +Hunger; good maker (Cremona +model) and fine repairer.</p> + +<p><span class="smcap">Fryer</span>, Charles. London and +Leeds, 1830-40.</p> + +<p><span class="smcap">Furber</span>, David. Pupil of +John Johnson (1750-60), a +maker in London. (<cite>See</cite> p. +234.)</p> + +<p><span class="smcap">Furber</span>, Henry John, son and +pupil of John Furber.</p> + +<p><span class="smcap">Furber</span>, James, first son of +Matthew Furber, sen.</p> + +<p><span class="smcap">Furber</span>, John, third son of +Matthew Furber, sen.</p> + +<p><span class="smcap">Furber</span>, Matthew, sen., son of +David Furber.</p> + +<p><span class="smcap">Furber</span>, Matthew, second son +of Matthew Furber, sen.</p> + + +<p><span class="smcap">Gabrielli</span>, Antonio. Florence, +1760; good violins.</p> + +<p><span class="smcap">Gabrielli</span>, Bartolommeo. Florence +about 1730.</p> + +<p><span class="smcap">Gabrielli</span>, Cristoforo. Florence, +1730.</p> + +<p><span class="smcap">Gabrielli</span>, Giovanni Battista. +Florence, 1740-70; good tone, +excellent wood, yellow varnish; +his violoncellos and +altos considered best.</p> + +<p><span class="smcap">Gaetano</span>, Antoniazzi, b. Aug. +7, 1825, Cremona; good maker, +has gained medals of honour; +his sons, Ricardo and Romeo, +work with him.</p> + +<p><span class="smcap">Gaffino</span>, Giuseppe. An Italian, +worked in Paris, 1745-83; +careful maker.</p> + +<p><span class="smcap">Gagliano</span> (Galiano), Alessandro, +b. 1640. (<cite>See</cite> p. 89.)</p> + +<p><span class="smcap">Gagliano</span>, Antonio, son of +Giovanni, grandson of Nicola. +(<cite>See</cite> “Raffaele Gagliano.”)</p> + +<p><span class="smcap">Gagliano</span>, Ferdinando, eldest +son of Nicola, grandson of +Alessandro. (<cite>See</cite> p. 89.)</p> + +<p><span class="smcap">Gagliano</span>, Gennaro, second son +of Alessandro, brother of Nicola; +b. about 1680, at Naples; +d. 1750. He was the best +maker of this family.</p> + +<p><span class="smcap">Gagliano</span>, Giovanni, fourth +son of Nicola, nephew of the +great Gennaro; d. 1806.</p> + +<p><span class="smcap">Gagliano</span>, Giuseppe and Antonio, +second and third sons +of Nicola; lived at Naples.</p> + +<p><span class="smcap">Gagliano</span>, Nicola, eldest son +of Alessandro; b. about 1675,<span class="pagenum" id="Page_251">[Pg 251]</span> +at Naples; d. there about +1745.</p> + +<p><span class="smcap">Gagliano</span>, Raffaele and Antonio, +sons of Giovanni, grandsons +of Nicola.</p> + +<p><span class="smcap">Gaillard-Lajoue</span>, J. B. Mirecourt; +d. about 1870; first +an apprentice and then first +workman in the workshop of +Gand; fair maker.</p> + +<p><span class="smcap">Gairoud</span>, Louis. Nantes about +1740.</p> + +<p><span class="smcap">Galbani</span>, Piero. Florence in +1640.</p> + +<p><span class="smcap">Galbicellis</span>, G. B. Florence, +1757.</p> + +<p><span class="smcap">Galbusera</span>, Carlo Antonio. +Follower of Chanot; made a +guitar-shaped model; violins +much praised, but little known +now.</p> + +<p><span class="smcap">Galerzena.</span> Piedmont, 1790.</p> + +<p><span class="smcap">Galland</span>, Jean. Paris, rue +St-Honoré, about 1744-50.</p> + +<p><span class="smcap">Galram</span>, Joachim Joseph. Lisbon +in 1769.</p> + +<p><span class="smcap">Gand</span>, Charles Adolphe, eldest +son of Charles François Gand; +b. Dec. 11, 1812, Paris; d. Jan. +24, 1866.</p> + +<p><span class="smcap">Gand</span>, Charles François, eldest +son of Charles Michel Gand; +b. Aug. 5, 1787, Versailles. +(<cite>See</cite> p. 108.)</p> + +<p><span class="smcap">Gand</span>, Charles Michel, the head +of the Gand family; b. 1748, +at Mirecourt; d. 1820, Versailles.</p> + +<p><span class="smcap">Gand</span>, Charles Nicolas Eugène, +second son of Charles François +Gand; b. June 5, 1825, +at Paris; d. Feb. 5, 1892, +Boulogne-sur-Seine.</p> + +<p><span class="smcap">Gand</span>, Guillaume, second son +of Charles Michel Gand, 1792-1858.</p> + +<p><span class="smcap">Garani</span> (Garana), Michelangelo. +A maker in Bologna about +1680 to 1720; small value.</p> + +<p><span class="smcap">Garani</span>, Nicola. 1700. Fair +instruments, Gagliano pattern; +plain wood, yellow varnish.</p> + +<p><span class="smcap">Garenghi</span>, Giuseppe. Brescia, +1857.</p> + +<p><span class="smcap">Gasparo da Salò</span>, son of Francesco +Bertolotti, b. 1542. (<cite>See</cite> +p. 30.)</p> + +<p><span class="smcap">Gattanani.</span> Piedmont, 1785-90.</p> + +<p><span class="smcap">Gattinari.</span> Enrico. Turin, +1670-75.</p> + +<p><span class="smcap">Gattinari</span>, Francesco, son of +Enrico Gattinari. Good +maker, 1700-5; red varnish.</p> + +<p><span class="smcap">Gautrot.</span> Mirecourt, 1855.</p> + +<p><span class="smcap">Gaviniés</span> (Gavaniès), François. +1700-63, Bordeaux; 1730 +Paris, and was living in Rue +St-Thomas-du-Louvre, 1734-63. +Unequal maker of violins, +some cheap and poor, +others very superior.</p> + +<p><span class="smcap">Gedler</span>, Johann Anthony and +Johann Benedict. Fussen, +Bavaria, about 1750-96. Poor +violins.</p> + +<p><span class="smcap">Geisenhof</span> (Geiffenhof, Geigenhof), +Franz, b. 1754; d. 1821. +Fairly good.</p> + +<p><span class="smcap">Gemünder</span>, August, b. 1814, +Würtemberg; d. Sept., 1895, +New York. Excellent maker, +fine copyist.</p> + +<p><span class="smcap">Gemünder</span>, George, brother of +August Gemünder, b. 1816 +in Würtemberg.</p> + +<p><span class="smcap">Germain</span>, Emile, son of Joseph +Louis Germain. Turin, 1870-88. +Studied at Mirecourt. +Prolific maker, good varnish, +fair tone, fine repairer.</p> + +<p><span class="smcap">Germain</span>, Joseph Louis, b. July +23, 1822, Mirecourt, 1868; +worked with F. Gand family +and B. Vuillaume. Excellent +maker and repairer.</p> + +<p><span class="smcap">Geroni</span>, Domenico. Ostia, +Italy, about 1800-20. Inferior.</p> + +<p><span class="smcap">Gherardi</span>, Giacomo. Bologna, +1677.</p> + +<p><span class="pagenum" id="Page_252">[Pg 252]</span></p> + +<p><span class="smcap">Ghidini</span>, Carlo. Parma, about +1746.</p> + +<p><span class="smcap">Gianoli</span>, Domenico. Milan, +1731.</p> + +<p><span class="smcap">Gibbs</span>, James. London, 1800-45. +Was employed by J. Morrison, +George Corsby, and Samuel +Gilkes.</p> + +<p><span class="smcap">Gibertini</span>, Antonio. Parma, +1830-33. Stradivari pattern. +Employed by Paganini as a +repairer.</p> + +<p><span class="smcap">Gigli</span>, Julio Cesare. Rome, +1730-62.</p> + +<p><span class="smcap">Gilbert</span>, Nicolas Louis. Metz, +1700.</p> + +<p><span class="smcap">Gilbert</span>, Simon, son of Nicolas +Louis Gilbert. Metz, about +1737.</p> + +<p><span class="smcap">Gilkes</span>, Samuel, 1787-1827. +Morton Pinkney, Northamptonshire. +London. Worked +for William Forster (1764-1824). +Nicola Amati pattern; +clever maker.</p> + +<p><span class="smcap">Gilkes</span>, William, son of Samuel +Gilkes, about 1811-75, in Grey +Coat Street, Tothill Fields, +Westminster, London. Prolific +maker; chiefly double +basses.</p> + +<p><span class="smcap">Gioffreda</span>, B. Turin, in 1860.</p> + +<p><span class="smcap">Giordano</span> (Giordane), Alberto. +Cremona, about 1735-40.</p> + +<p><span class="smcap">Giorgi</span>, Nicola. Turin, 1745.</p> + +<p><span class="smcap">Giraniani.</span> Leghorn, 1730.</p> + +<p><span class="smcap">Giron.</span> (<cite>See</cite> “Villaume.”)</p> + +<p><span class="smcap">Giuliani.</span> Cremona, 1660. +Pupil of Nicola Amati.</p> + +<p><span class="smcap">Gobetti</span>, Francesco. Venice, +1705. A pupil of Antonio Stradivari. +Alleged fine wood, +varnish, and tone.</p> + +<p><span class="smcap">Goffriller</span> (Gofriler), Antonio. +Venice, 18th century.</p> + +<p><span class="smcap">Goffriller</span>, Francesco. Venice. +Fair maker; yellow-brown +varnish.</p> + +<p><span class="smcap">Goffriller</span>, Matteo. Venice, +1690-1740. Careless in wood +but careful in work; yellow +varnish; arched pattern violin +excellent.</p> + +<p><span class="smcap">Gonnet</span>, Pierre Jean. Paris, +1775-83.</p> + +<p><span class="smcap">Gosselin.</span> An amateur maker +in Paris about 1814-30.</p> + +<p><span class="smcap">Gosset.</span> Rheims, 1769.</p> + +<p><span class="smcap">Gouvernari</span>, Antonio. Cremona, +1600-10.</p> + +<p><span class="smcap">Grabensee</span>, J. A. Düsseldorf, +about 1850-55.</p> + +<p><span class="smcap">Gragnani</span>, Antonio. Leghorn, +about 1741-80. Rough workmanship; +inferior wood; sweet +tone.</p> + +<p><span class="smcap">Gragnani</span>, Gennaro. Leghorn, +1730.</p> + +<p><span class="smcap">Gragnani</span>, son of Antonio +Gragnani. Inferior to his +father.</p> + +<p><span class="smcap">Grancino</span>, Francesco and Giam +Battista, sons of Giovanni and +grandsons of Paolo Grancino. +1710-60. (<cite>See</cite> p. 90.)</p> + +<p><span class="smcap">Grancino</span>, Giovanni, son of +Paolo Grancino. Milan 1690-1730.</p> + +<p><span class="smcap">Grancino</span>, Paolo. Worked at +Milan, 1665-90. Pupil of Nicola +Amati at Cremona.</p> + +<p><span class="smcap">Grand-Gérard.</span> Vosges, +1790-1810. Also Paris. Prolific +but inferior.</p> + +<p><span class="smcap">Grandini</span>, Geronimo, sen. +Mirecourt. Some merit.</p> + +<p><span class="smcap">Grandjon</span>, sen. Mirecourt.</p> + +<p><span class="smcap">Grandjon</span>, J., son of Grandjon, +sen. Mirecourt. Fair +maker.</p> + +<p><span class="smcap">Gray</span>, J. Fochabers, Banffshire, +Scotland, in 1870.</p> + +<p><span class="smcap">Greffts</span>, Johann. Fussen, +Bavaria, in 1622.</p> + +<p><span class="smcap">Gregori.</span> Bologna, 1793.</p> + +<p><span class="smcap">Grimm</span>, Carl, b. about 1792; +d. 1855, Berlin. One of the +best German makers.</p> + +<p><span class="smcap">Grimm</span>, Ludwig, son of Carl +Grimm.</p> + +<p><span class="smcap">Griseri</span>, Filippo. Florence in +1650.</p> + +<p><span class="pagenum" id="Page_253">[Pg 253]</span></p> + +<p><span class="smcap">Grobitz</span>, A. Warsaw in 1750. +Good violins on the Stainer +pattern.</p> + +<p><span class="smcap">Groll</span>, Matthew. Meran, +Tyrol, in 1800.</p> + +<p><span class="smcap">Grosset</span>, Paul François. +Paris, 1747-59. Pupil of +Claude Pierray. Inferior.</p> + +<p><span class="smcap">Grossi</span>, Giuseppe. Bologna in +1803.</p> + +<p><span class="smcap">Grou.</span> 1752.</p> + +<p><span class="smcap">Grulli</span>, Pietro. Cremona, +1883.</p> + +<p><span class="smcap">Guadagnini</span>, Antonio, son of +Gaetano, grandson of Carlo +Guadagnini, b. 1831; d. 1881 +at Turin. (<cite>See</cite> p. 86.)</p> + +<p><span class="smcap">Guadagnini</span>, Felice, son of +Carlo Guadagnini. Turin, +1835.</p> + +<p><span class="smcap">Guadagnini</span>, Francesco and +Giuseppe, sons of Antonio +Guadagnini. Turin.</p> + +<p><span class="smcap">Guadagnini</span>, Gaetano, son of +Giambattista, grandson of +Lorenzo. Turin about 1750.</p> + +<p><span class="smcap">Guadagnini</span>, Gaetano. (<cite>See</cite> +“Carlo Guadagnini.”)</p> + +<p><span class="smcap">Guadagnini</span>, Giambattista, +son of Lorenzo, b. 1711 at +Cremona; d. Sept 18, 1786, +at Turin.</p> + +<p><span class="smcap">Guadagnini</span>, Giovanni Battista, +brother of Lorenzo +Guadagnini. Milan, Piacenza, +and Turin about 1695-1775.</p> + +<p><span class="smcap">Guadagnini</span>, Giuseppe, second +son of Giambattista, grandson +of Lorenzo, b. 1736; d. about +1805.</p> + +<p><span class="smcap">Guadagnini</span>, Giuseppe. (<cite>See</cite> +“Carlo Guadagnini.”)</p> + +<p><span class="smcap">Guadagnini</span>, Giuseppe. (<cite>See</cite> +“Francesco Guadagnini.”)</p> + +<p><span class="smcap">Guadagnini</span>, Lorenzo. b. at +Piacenza (?) about 1665. A +pupil of Antonio Stradivari +at Cremona.</p> + +<p><span class="smcap">Guarini</span>, Joseph. Germigny, +Vosges. Good violins, double +purfle, powerful tone.</p> + +<p><span class="smcap">Guarneri</span>, Andrea. b. about +1626 at Cremona; d. there +Dec. 7, 1698. (For the Guarneri +family, see p. 51.)</p> + +<p><span class="smcap">Guarneri</span>, Caterina (?), daughter +of Andrea.</p> + +<p><span class="smcap">Guarneri</span>, Gian Battista, son +of Bernardo, younger brother +of Andrea.</p> + +<p><span class="smcap">Guarneri</span>, Giuseppe, known as +“del Gesù,” the greatest of +the family. (<cite>See</cite> p. 51.)</p> + +<p><span class="smcap">Guarneri</span>, Giuseppe Giovan +Battista, second son of Andrea. +b. Nov. 25, 1666, Cremona; +d. soon after 1738.</p> + +<p><span class="smcap">Guarneri</span>, Pietro, son of Giuseppe +Giovan Battista Guarneri, +grandson of Andrea, b. +April 14, 1695. 1760.</p> + +<p><span class="smcap">Guarneri</span>, Pietro Giovanni, +eldest son of Andrea. b. Feb. +18, 1655, at Cremona; d. +about 1740.</p> + +<p><span class="smcap">Guédon</span>, Jacques Antoine. +Paris, 1775-77.</p> + +<p><span class="smcap">Guérin</span>, Alexandre Sauveur, +1834-88, Hyères. Pupil and +successor of Edmond Daniel; +works at Marseilles; repairs +old instruments and makes +new ones on the pattern of +Stradivari; much admired.</p> + +<p><span class="smcap">Guerra</span>, Giacomo. Modena, +1810.</p> + +<p><span class="smcap">Guersan</span>, Louis. A maker in +Paris about 1730-69; one of +the best French makers; +great experimentalist; used +spirit varnish.</p> + +<p><span class="smcap">Gugemmos</span> (Gugemos). Fussen, +Bavaria. Eighteenth century; +poor maker.</p> + +<p><span class="smcap">Guglielmi</span>, Giobattista. Cremona, +1747.</p> + +<p><span class="smcap">Guidantus</span>, Joannes Florenus. +Bologna, 1685-1728.</p> + +<p><span class="smcap">Guidomini</span>, Lorenzo. Milan, +1740.</p> + +<p><span class="smcap">Guillami.</span> A Spanish family, +1680-1780.</p> + +<p><span class="pagenum" id="Page_254">[Pg 254]</span></p> + +<p><span class="smcap">Guiton</span>, R., of Cork. Good.</p> + +<p><span class="smcap">Gusetto</span>, Nicola. Florence, +1730.</p> + +<p><span class="smcap">Gutermann.</span> Vienna, nineteenth +century. Good.</p> + + +<p><span class="smcap">Haensel</span>, Johann Anton. Was +maker and musician to the +Duke of Schönburg at Rochsburg, +1800-15.</p> + +<p><span class="smcap">Haff.</span> Augsburg, eighteenth +century.</p> + +<p><span class="smcap">Hamberger</span>, Joseph. Pressburg, +Hungary. Firm still +maker at Vienna.</p> + +<p><span class="smcap">Hamm</span>, Johann Gottfried. A +German who worked in Rome +about 1810; violins ivory +edged.</p> + +<p><span class="smcap">Hammig</span>, W. H. Leipzig, tenth +century; good work.</p> + +<p><span class="smcap">Harbour</span> or Harbur. A maker, +London, 1785.</p> + +<p><span class="smcap">Hardanger.</span> Norway.</p> + +<p><span class="smcap">Hardie</span>, James & Sons. Edinburgh, +1837-90. Industrious +makers and exhibitors. Maggini, +Stradivari, and Guarneri +models.</p> + +<p><span class="smcap">Hardie</span>, Matthew, 1825, and +Thomas, 1856. Good violins, +violas, and violoncellos on the +Amati pattern.</p> + +<p><span class="smcap">Hardie</span>, Peter. Dunkeld, 1773-1863. +Excellent violoncellos.</p> + +<p><span class="smcap">Hare</span>, Joseph (or John), 1700-30. +Reacted against Stainer +pattern in favour of Stradivari. +London, 1726.</p> + +<p><span class="smcap">Harham.</span> London, 1765-85.</p> + +<p><span class="smcap">Harmand.</span> Mirecourt in 1772.</p> + +<p><span class="smcap">Harris</span>, Charles. London, 1780-1800. +Seldom labelled; his +work good, especially ’cellos, +Stradivari and Amati pattern; +red varnish.</p> + +<p><span class="smcap">Harris</span>, Charles, eldest son of +Charles Harris. Worked for +John Hart, nineteenth century; +yellow varnish.</p> + +<p><span class="smcap">Hart</span>, John Thomas, 1805-74, +London. Pupil of Samuel +Gilkes; made few instruments; +reputation for experience +and skill in repairing.</p> + +<p><span class="smcap">Hassert.</span> Eisenach, eighteenth +century. Good instruments, +not much arched, beautiful +wood, amber-coloured varnish; +good copyist.</p> + +<p><span class="smcap">Hassert.</span> A brother. Eisenach, +1790, in Rudolstadt. Instruments +too much arched; rather +harsh tone.</p> + +<p><span class="smcap">Haynes</span>, Jacob. London, 1746. +Stainer pattern.</p> + +<p><span class="smcap">Heberlein</span>, Heinrich, jun. +Clever maker in Markneukirchen, +nineteenth century.</p> + +<p><span class="smcap">Heesom</span>, Edward. London, +1748-50. Stainer pattern.</p> + +<p><span class="smcap">Heidegger.</span> Passau.</p> + +<p><span class="smcap">Hel</span>, Pierre Joseph, 1842-95. +Seven years in Mirecourt, +then with Sébastien Vuillaume +in Paris, and Nicolas +Darche at Aix-la-Chapelle. +In 1865 he started his own +business at 14 Rue Nationale, +Lille; full of ingenuity; peculiar +methods of seasoning +wood without fire; has received +much praise and many +honours; a beautiful maker.</p> + +<p><span class="smcap">Held</span>, J. J., b. July 17, 1823-89, +Flamersheim, Rheinbach +(Cologne). Great repairer and +careful maker of about sixteen +instruments a year; +much esteemed.</p> + +<p><span class="smcap">Hell</span>, Ferdinand. Vienna, 1854. +Eccentric maker of a trumpet-violin.</p> + +<p><span class="smcap">Helmich.</span> Continued Carl +Grimm’s business.</p> + +<p><span class="smcap">Henderson</span>, D. Aberdeen.</p> + +<p><span class="smcap">Hénoc</span> (or Hénocq), François. +Paris, 1775-89.</p> + +<p><span class="smcap">Hénoc</span> (Hénocq), Jean (?Georges +Bienaimé). Maker, Paris, 1768 +to about 1790.</p> + +<p><span class="pagenum" id="Page_255">[Pg 255]</span></p> + +<p><span class="smcap">Henry.</span> Paris.</p> + +<p><span class="smcap">Henry</span>, Carolus, son of Jean +Baptiste Henry, 1803-59; +prolific maker; inventor of +a barytone fiddle (not a success); +a good maker otherwise.</p> + +<p><span class="smcap">Henry</span>, Eugène, son of Charles +Henry, 1843-92; an excellent +maker of fine repairs; +business continued by Charles +Bruyère.</p> + +<p><span class="smcap">Henry</span>, Jean Baptiste, b. 1757-1831, +Mataincourt, Mirecourt +(Vosges). He was the head +of the present family of +makers.</p> + +<p><span class="smcap">Henry</span>, Jean Baptiste Félix, +eldest son of Jean Baptiste +Henry. 1793-1858. Paris. +Pupil of his father; in Bordeaux, +1822; in Marseilles, +1825. In 1844 he returned +to Paris. A prolific maker, +but never signed.</p> + +<p><span class="smcap">Henry</span>, Octave, son of Jean +Baptiste Félix Henry. 1826-54. +Paris. In Grenoble in +1854; made a great many +violins.</p> + +<p><span class="smcap">Henry.</span> A violin bow-maker; +1812 at Mirecourt; 1870, Paris; +worked with Chanot; made +excellent bows.</p> + +<p><span class="smcap">Hildebrandt</span>, Michael Christopher. +Hamburg, 1765-1800; +good work; fine repairer.</p> + +<p><span class="smcap">Hill</span>, Henry Lockey, son of +Lockey Hill; grandson of +Joseph Hill; b. 1774; d. Aug. +1835. (For Hill family see +p. 133).</p> + +<p><span class="smcap">Hill</span>, John. Red Lion Street, +Holborn, 1794.</p> + +<p><span class="smcap">Hill</span>, Joseph, b. 1715; d. 1784. +He was a fellow-apprentice +of Banks, working at “Y<sup>e</sup> +Harp and Hautboy,” in Piccadilly, +London, under Peter +Wamsley, about 1740-42. +Worked till 1772. His sons, +William, Joseph, Lockey, and +Benjamin, were all makers.</p> + +<p><span class="smcap">Hill</span>, William, son of Joseph +Hill. Worked in London +about 1740-80.</p> + +<p><span class="smcap">Hill</span>, William Ebsworth, son +of Henry Lockey Hill, 1817-95. +The present members of +the firm are his four eldest +sons: William Henry, b. June +3, 1857, followed the musical +profession for some years before +joining his brothers in the +business; Arthur Frederick, +b. Jan. 25, 1860; Alfred +Ebsworth, b. Feb. 1862, who +worked for some time at Mirecourt +(Vosges), and was the +first Englishman to go there +to study; and Walter Edgar, +b. Nov. 4, 1871, who also +worked at Mirecourt. They +employ a large staff of assistants +in their workshops at +Hanwell. (<cite>See</cite> p. 133.)</p> + +<p><span class="smcap">Hircutt.</span> London about 1600.</p> + +<p><span class="smcap">Hochbrücker.</span> Donauworth, +Bavaria, 1699. Later at +Augsburg. Made some violins, +but is chiefly known as the +inventor of pedals for the +harp, about 1720.</p> + +<p><span class="smcap">Höhne.</span> Dresden and Weimar.</p> + +<p><span class="smcap">Hörlein</span>, Carl Adam, b. 1829-75. +Winkelhof, Würzburg; +great reputation both as +maker and repairer.</p> + +<p><span class="smcap">Hoffmann</span>, Anton. Courtmaker +in Vienna, 1850.</p> + +<p><span class="smcap">Hoffmann</span>, Martin. Leipzig, +1725; in Leipzig from about +1685; violins and violoncellos +of good tone, inelegant pattern; +shows well the transition +period between viol and +violin by recurrence to older +types of a five-stringed violoncello.</p> + +<p><span class="smcap">Hofmans</span>, Matthias. Antwerp, +1700-50; choice maker in the +Cremona style.</p> + +<p><span class="pagenum" id="Page_256">[Pg 256]</span></p> + +<p><span class="smcap">Holloway</span>, John. London. +1794.</p> + +<p><span class="smcap">Homolka</span>, F. Kuttenberg, +Bohemia, 1850; good maker, +but wood rather too thick.</p> + +<p><span class="smcap">Hopkins.</span> Worcester; exhibited +a double-bass in London +in 1862.</p> + +<p><span class="smcap">Horil</span>, Giacomo. Rome, 1720-50.</p> + +<p><span class="smcap">Hornsteiner</span> (Hornstainer), +Joseph. Mittenwald, 1730; +good double-basses; mediocre.</p> + +<p><span class="smcap">Hornsteiner</span> (Hornstainer), +Mathias. Maker in Mittenwald, +1770-1800; better than +Joseph.</p> + +<p><span class="smcap">Hosborn</span>, Thomas Alfred. London, +1629. A bass viol exhibited +in Paris, 1878.</p> + +<p><span class="smcap">Huet</span>, Henri. Paris, 1775-90; +good workmanship.</p> + +<p><span class="smcap">Hulinski.</span> Prague in 1760; +instruments were well made; +varnish red-brown.</p> + +<p><span class="smcap">Huller</span>, August. Shœneck, +1735-76.</p> + +<p><span class="smcap">Hulskamp</span>, G. H., b. in Westphalia. +Settled in New York, +U.S.A. In the 1862 London +Exhibition he exhibited violins +made on a new pattern. +Instead of the ordinary sound-holes, +was one round hole in +the middle of the violin, just +below where the bow sets the +strings in motion; his innovations +ineffectual.</p> + +<p><span class="smcap">Humel</span>, Christian. Nuremberg +in 1709.</p> + +<p><span class="smcap">Hunger</span>, Christoph Friedrich, +b. 1718, Dresden; d. 1787, +Leipzig; excellent instruments.</p> + +<p><span class="smcap">Hurel</span>, Jean. Paris, living in +1686, Rue des Arcis, at the +sign of “A l’image de St +Pierre”; from 1689 to 1717, +Rue St Martin, near the +Fontaine Maubué. He was +maker of instruments “pour +la musique du Roy.”</p> + +<p><span class="smcap">Husson.</span> <cite>See</cite> “Buthod.”</p> + + +<p><span class="smcap">Ivrontigni</span>, Wougelli. Turin.</p> + + +<p><span class="smcap">Jacobs</span>, Peeter. Amsterdam, +about 1690-1740; prolific +maker; sometimes mistaken +for Nicola Amati; grand +pattern; whalebone purfling; +sweet tone.</p> + +<p><span class="smcap">Jacobs.</span> Amsterdam; probably +son of Peeter; used dark red +varnish of good quality.</p> + +<p><span class="smcap">Jacot</span>, A., eldest son of Jean +Charles. Paris, 19th century.</p> + +<p><span class="smcap">Jacot</span>, Jean Charles. Metz, +1811-87.</p> + +<p><span class="smcap">Jacquot</span> (Jacquart), Charles, +1804-80. Mirecourt; much +esteemed; careful finish; a +learned connoisseur and successful +exhibitor.</p> + +<p><span class="smcap">Jacquot</span>, Etienne Charles Albert, +eldest son of Pierre +Charles Jacquot, b. 1853-82, +Nancy.</p> + +<p><span class="smcap">Jacquot</span>, Jules Victor, second +son of Pierre Charles Jacquot, +b. Aug. 12, 1855.</p> + +<p><span class="smcap">Jacquot</span>, Pierre Charles, son +of Charles Jacquot; b. March +10, 1828-94. Nancy; had a +great reputation, and exhibited +beautiful instruments +at various Exhibitions; his +two sons worked with him.</p> + +<p><span class="smcap">Jais</span>, Johann. Botzen, 1775; +varnished brown.</p> + +<p><span class="smcap">J’Anson</span>, Edward Popplewell. +Manchester. Learnt from +William Booth, jun.</p> + +<p><span class="smcap">Jauch</span>, Johann, b. Gratz, Styria; +in Dresden, 1765-74. Cremona +pattern; learned maker; +tone rather harsh.</p> + +<p><span class="smcap">Jay</span>, Henry. A maker of viols +in London about 1615-67; +justly celebrated, and on the +verge of the violin period.</p> + +<p><span class="pagenum" id="Page_257">[Pg 257]</span></p> + +<p><span class="smcap">Jay</span>, Henry. Worked in London +about 1746-68. He was +best known for the small +violins or “kits” that he +made, which were used by +dancing-masters; also made +some violoncellos.</p> + +<p><span class="smcap">Jay</span>, Thomas. Working in London +from about 1690; made +some excellent violins.</p> + +<p><span class="smcap">Jeandel</span>, Pierre Napoleon, +1812-79. Courcelles-sous-Vaudémont +(Meurthe), Rouen, +and Paris; red varnish; good +tone.</p> + +<p><span class="smcap">Johnson</span>, John. London, 1750-60. +Stainer pattern.</p> + +<p><span class="smcap">Jombar</span>, Paul, Paris. He +worked for Gand and Bernardel; +started his own business +in 1892.</p> + +<p><span class="smcap">Jorio</span>, Vincenzo. Naples, 1847, +Good.</p> + +<p><span class="smcap">Joseph</span>, J. Vienna, 1764.</p> + +<p><span class="smcap">Juliano</span>, Francesco. Rome, +1620-70.</p> + + +<p><span class="smcap">Kembter.</span> Dibingen, 1725-30. +Varnish yellow or reddish; +neat maker.</p> + +<p><span class="smcap">Kennedy</span>, Alexander. Scotland, +1695-1785. Excellent +maker; high repute; spirit +varnish, brown; Stainer pattern.</p> + +<p><span class="smcap">Kennedy</span>, John. London, 1816. +Buried in Shoreditch Church. +Pupil of Alexander Kennedy. +Violins and violas, all +very arched; Stainer pattern.</p> + +<p><span class="smcap">Kennedy</span>, Thomas, 1784-1870, +London. Son of John Kennedy. +Worked sometimes for +William Forster; made at +least 300 violoncellos, as well +as other instruments. Good +tone, fine finish.</p> + +<p><span class="smcap">Kerlino</span>, Joann.</p> + +<p><span class="smcap">Kiaposse</span>, Sawes. St Petersburg, +1748-50.</p> + +<p><span class="smcap">Kiesgen</span>, Louis. Paris. Fine +workman. Pattern of Gand; +red varnish.</p> + +<p><span class="smcap">Kirschschlag.</span> Tyrol, 1780.</p> + +<p><span class="smcap">Klein</span>, A. In 1884, Rouen. +Important firm. Red varnish. +High Exhibition awards.</p> + +<p><span class="smcap">Kloss</span>, Ernst. Breslau.</p> + +<p><span class="smcap">Klotz</span> (Kloz), Egidius. (<cite>See</cite> +p. 119.)</p> + +<p><span class="smcap">Klotz</span>, George, son of Mathias +and grandson of Egidius Klotz. +Mittenwald, 1750-70.</p> + +<p><span class="smcap">Klotz</span>, Johann Carl. Mittenwald, +about 1740-55. Excellent +work; dark varnish.</p> + +<p><span class="smcap">Klotz</span>, Joseph, brother of +George Klotz. Mittenwald, +1774. Also followed the +Stainer pattern.</p> + +<p><span class="smcap">Klotz</span>, Mathias, son and pupil +of Egidius. 1650. His three +sons, George, Sebastian, and +Joseph, were all makers.</p> + +<p><span class="smcap">Klotz</span>, Michael and Carl, two +brothers. Mittenwald about +1770. A great many of the +violins with “Stainer” labels +are made by members of the +Klotz family.</p> + +<p><span class="smcap">Klotz</span>, Sebastian, a brother of +Joseph and George Klotz. +1700-40. The best maker in +the family. Large pattern, not +much arched; varnish is excellent, +the tone clear and full.</p> + +<p><span class="smcap">Klüher.</span> Markneukirchen, +Saxony.</p> + +<p><span class="smcap">Knitting</span>, Philipp. Mittenwald, +1760.</p> + +<p><span class="smcap">Knittle</span> (Knitl), Joseph. Mittenwald, +1790.</p> + +<p><span class="smcap">Knoop</span>, Wilhelm. Meiningen. +Stainer pattern; good.</p> + +<p><span class="smcap">Koeuppers</span>, Jean. The Hague, +1755-80. Well-made fiddles; +ugly yellow varnish.</p> + +<p><span class="smcap">Kolb</span>, Hans. Bavaria, 1666.</p> + +<p><span class="smcap">Kolditz</span>, Johann. Rumburg, +Bohemia, 1796. Good violins +and violas.</p> + +<p><span class="pagenum" id="Page_258">[Pg 258]</span></p> + +<p><span class="smcap">Kolditz</span>, Mathias Johann. +Munich, 1720-55.</p> + +<p><span class="smcap">Koliker</span>, Jean Gabriel. Paris, +1783-99. Clever repairer.</p> + +<p><span class="smcap">Kramer</span>, H. Vienna in 1717.</p> + +<p><span class="smcap">Krigge</span>, Heinrich. Danzig, +1756-58. Maggini pattern, +model large size, neat edges +and work, and double purfling +in ink.</p> + +<p><span class="smcap">Kriner</span>, Joseph. Mittenwald, +1785-95.</p> + +<p><span class="smcap">Krupp</span>, Pierre. Worked in +Paris, Rue St Honoré, 1777-91; +he also made harps.</p> + +<p><span class="smcap">Kühlewein und Tetzner.</span> +Makers in Markneukirchen. +Exhibited in Munich, 1854.</p> + +<p><span class="smcap">Küntzel.</span> Berlin. He exhibited +a quintet of instruments +in London, 1862; tone excellent.</p> + +<p><span class="smcap">Kuntzel</span>, Laurent. 1790. Hof +Bavaria and Breslau, 1815-55. +Excellent violins on Italian +model.</p> + + +<p><span class="smcap">Lacroix</span>, Salomon. Nineteenth +century.</p> + +<p><span class="smcap">Lafleur.</span> London, brother of +the Parisian maker.</p> + +<p><span class="smcap">Lafleur</span>, Jacques. A bow-maker +in Paris. Excellent +disciple of Tourte.</p> + +<p><span class="smcap">Lafleur</span>, Joseph René, son of +Jacques. 1812-74. Excellent +bow-maker.</p> + +<p><span class="smcap">Lafranchini</span>, Jacobo de. +Worked for Maggini.</p> + +<p><span class="smcap">Lagetto</span>, Louis. An Italian +maker; Paris, 1745-53; early +Italian model.</p> + +<p><span class="smcap">Lambert.</span> Prolific but indifferent +maker.</p> + +<p><span class="smcap">Lambert</span>, Jean Nicolas. Paris, +1743-85. Not remarkable.</p> + +<p><span class="smcap">Lambin.</span> Clever repairer in +Ghent, 1800-30.</p> + +<p><span class="smcap">Lamy</span>, N. Alfred Joseph. A +bow-maker; 1850-89, Mirecourt; +excellent.</p> + +<p><span class="smcap">Landi</span>, Pietro. Sienna, 1774.</p> + +<p><span class="smcap">Landolfi</span>, Carlo Ferdinando. +Milan, 1740-75. Unequal +maker; at his best often mistaken +for Joseph or Peter +Guarnerius; £50 outside price, +but rising in value.</p> + +<p><span class="smcap">Lantez</span>, M. E., son-in-law of +Grandjon, sen. Mirecourt.</p> + +<p><span class="smcap">Lanza</span> (Lansa or Lausa), Antonio +Maria. Brescia about +1675; followed the patterns +of Gasparo da Salò and Maggini; +excellent maker.</p> + +<p><span class="smcap">Lapaix</span>, J. A. Lille (Nord, +France), 1840-55. Tried many +new shapes with moderate +success; industrious and ingenious.</p> + +<p><span class="smcap">Laprévotte</span>, Etienne. Mirecourt; +1856, Paris. Made good +violins; beautifully finished; +also guitars.</p> + +<p><span class="smcap">Larche.</span> Brussels, 1847. Dyed +his fiddles with acids, with +usual result of impoverished +tone.</p> + +<p><span class="smcap">Larcher</span>, Pierre. Tours, 1785. +Pupil of Guersan, Paris, but +work dissimilar; brown varnish +of poor quality.</p> + +<p><span class="smcap">Laska</span>, Joseph. 1738-1805, +Prague. Pupil of J. Kolditz; +worked for best makers in +Dresden, Berlin, Vienna, and +Brünn; his violins popular +in Bohemia, Saxony, and +Poland.</p> + +<p><span class="smcap">Lautten</span>, L. W. Tyrol. One +“fine and handsome” violin +known.</p> + +<p><span class="smcap">Lavazza</span> (or Lacasso), Antonio +Maria. Milan about 1700; +Stradivari pattern; good varnish, +pale red.</p> + +<p><span class="smcap">Lavazza</span>, Santino. Was working +in Milan at the same time +as Antonio Maria Lavazza.</p> + +<p><span class="smcap">Leb.</span> Pressburg, eighteenth +century; one of the best German +makers of his time.</p> + +<p><span class="pagenum" id="Page_259">[Pg 259]</span></p> + +<p><span class="smcap">Le Blanc.</span> Family of makers +who, through four generations, +worked in Paris, eighteenth +century.</p> + +<p><span class="smcap">Leblanc</span>, Claude. Mirecourt, +eighteenth century.</p> + +<p><span class="smcap">Leclerc</span>, J. N. Paris, 1760-80; +good maker and repairer.</p> + +<p><span class="smcap">Lecomte</span> (or Fouquet-Lecomte), +Antoine. Paris, 1775-1800.</p> + +<p><span class="smcap">Lecuyer</span>, Pierre. Paris, 1775-83.</p> + +<p><span class="smcap">Leduc</span>, Pierre. Paris, 1647; one +of the oldest makers there.</p> + +<p><span class="smcap">Leeb</span>, J. Carl. 1792-1819. +Vienna.</p> + +<p><span class="smcap">Lefebvre</span> (Lefebre), J. B. A +Frenchman who worked in +Amsterdam, 1735-70; Amati +pattern; yellow varnish.</p> + +<p><span class="smcap">Lefèvre</span> (Lefebvre). Toussaint +Nicolas Germain. Paris, 1783-89.</p> + +<p><span class="smcap">Legros</span> de la Neuville, Nicolas. +French maker, eighteenth +century; guitars, violins, and +violoncellos.</p> + +<p><span class="smcap">Le Jeune.</span> A family of makers +who for several generations +worked in Paris; nineteenth +century.</p> + +<p><span class="smcap">Le Jeune</span>, François. Paris, +eighteenth century; violins +and viols; not remarkable.</p> + +<p><span class="smcap">Le Jeune</span>, Jean Baptiste. +Made harps and violins in +Paris; eighteenth and nineteenth +centuries.</p> + +<p><span class="smcap">Le Jeune</span>, Jean Charles. Paris +in 1776; succeeded by his +nephew, Guillaume Martin, +in 1822.</p> + +<p><span class="smcap">Le Jeune</span>, Louis. Paris, 1783-89.</p> + +<p><span class="smcap">Le Lièvre.</span> Paris, 1750-80.</p> + +<p><span class="smcap">Lemböck</span>, Gabriel. 1814-92. +Budapest; worked with Fischer +in Vienna; copied Guarnerius; +much esteemed.</p> + +<p><span class="smcap">L’Empereur</span>, Jean Baptiste. +Paris, 1750; few instruments.</p> + +<p><span class="smcap">Lenk</span>, W., b. 1840; 1881, Schönbach +bei Eger, Bohemia; +worked under Klüher in +Markneukirchen; then Berlin, +Breslau, Vienna; finally settled +at Frankfort; fair maker.</p> + +<p><span class="smcap">Lentz</span> (Lenz), Johann Nicolaus. +Came from the Tyrol to +London; friend of Bernhard +Fendt; varnished like Dodd +and J. F. Lott.</p> + +<p><span class="smcap">Leoni</span>, Carlo. Treviso, 1861.</p> + +<p><span class="smcap">Leoni.</span> Parma in 1816.</p> + +<p><span class="smcap">Le Pileur</span>, Pierre. Paris, 1750-55. +Not very good.</p> + +<p><span class="smcap">Lété</span>, Simon, b. about 1768; +1828 made very cheap, good +fiddles for £1; at one time a +partner of J. B. Vuillaume.</p> + +<p><span class="smcap">Lewis</span>, Edward. London about +1700. An excellent maker; +yellow and red varnish; in +Thomas Britton’s collection +was an “excellent tenor by +Mr Lewis” and a “rare +good” bass-violin.</p> + +<p><span class="smcap">Liebich</span>, Ernst, b. Oct. 27, 1796-1876; +Stradivari and Guarneri +pattern; he was the +father of</p> + +<p><span class="smcap">Liebich</span>, Ernst. 1830-84, Breslau. +Italian pattern. His +son,</p> + +<p><span class="smcap">Liebich</span>, Ernst. 1862-95, Breslau. +Excellent repairer; +makes few, but good; best +Italian patterns.</p> + +<p><span class="smcap">Liebich</span>, Johann Gottfried. +1752-1813.</p> + +<p><span class="smcap">Liedolf</span>, Joseph Ferdinand. +Vienna eighteenth century.</p> + +<p><span class="smcap">Lignoli</span>, Andrea. Florence, +seventeenth century.</p> + +<p><span class="smcap">Lilly</span>, James. An English +maker, 1821.</p> + +<p><span class="smcap">Linarolo</span> (Linerolli), Francesco +Giovanni. A family, seventeenth +century; on the verge +of the violin period; some of +their instruments have been +adapted for tenors.</p> + +<p><span class="pagenum" id="Page_260">[Pg 260]</span></p> + +<p><span class="smcap">Lippeta</span>, J. G. Neukirchen, +Saxony, 1771.</p> + +<p><span class="smcap">Lippold</span>, Johann Georg. 1780. +Fair maker; brown varnish.</p> + +<p><span class="smcap">Lolio</span>, Giambattista. 18th cent.</p> + +<p><span class="smcap">Loly</span>, Jacopo. Naples, 1627. +Pattern of Grancino; yellow +varnish; made large-sized +tenors.</p> + +<p><span class="smcap">Longman and Broderip</span>, +dealers who employed Jay or +Benjamin Banks, and labelled +with their own names.</p> + +<p><span class="smcap">Lorenzini</span>, Gaspare. Piacenza, +eighteenth century.</p> + +<p><span class="smcap">Lott</span>, George Frederick. 1775-1853.</p> + +<p><span class="smcap">Lott</span>, George Frederick. 1800-1868.</p> + +<p><span class="smcap">Lott</span>, John Frederick, son of +G. F. Lott. (<cite>See</cite> p. 219.)</p> + +<p><span class="smcap">Lotz</span>, Theodor. Pressburg. +1730-40. Good violins.</p> + +<p><span class="smcap">Louis.</span> Geneva.</p> + +<p><span class="smcap">Louvet</span>, Jean, brother of Pierre +Louvet. Paris, 1730-60. +Made bad fiddles, but good +hurdy-gurdys and harps.</p> + +<p><span class="smcap">Ludici</span> (Ludge), Geronimo +Pietro. An amateur maker +in Conegliano in 1709.</p> + +<p><span class="smcap">Lugloni</span>, Giuseppe. Venice in +1777.</p> + +<p><span class="smcap">Lupo</span>, Pietro. Antwerp. In +1559 he is said to have sold +to a musician sent by the town +of Utrecht, “five violins enclosed +in their case,” for the +sum of £72.</p> + +<p><span class="smcap">Lupôt</span>, François, son of Laurent +Lupôt.</p> + +<p><span class="smcap">Lupot</span>, Nicolas. The greatest +of the family. (<cite>See</cite> p. 106.)</p> + + +<p><span class="smcap">MacGeorge.</span> Edinburgh, 1800-20.</p> + +<p><span class="smcap">Macintosh.</span> Dublin, 1830-40. +Pupil of Thomas Perry.</p> + +<p><span class="smcap">Maffeotto</span>, Giuseppe. Rome, +eighteenth century.</p> + +<p><span class="smcap">Maggini</span> (Magino or Maglino), +Gio Paolo. (<cite>See</cite> p. 32.)</p> + +<p><span class="smcap">Maire</span>, Nicolas. A violin bow-maker +in Paris; 1800, in Mirecourt; +1878, Paris; apprenticed +to Jacques Lafleur; he +made excellent bows.</p> + +<p><span class="smcap">Maldonner.</span> Füssen, Bavaria, +1760.</p> + +<p><span class="smcap">Mann</span>, Hans. Naples, 1720-50. +His instruments are rare; +Stradivari and Guarneri patterns.</p> + +<p><span class="smcap">Mantegazza</span> (or Mantegatia), +Pietro and Giovanni. Two +brothers working in Milan +about 1750-1800; they made +many good altos.</p> + +<p><span class="smcap">Mantovani.</span> Parma, eighteenth +century.</p> + +<p><span class="smcap">Maratti</span>, Giambattista. Verona +about 1690-1700. Good +tone.</p> + +<p><span class="smcap">Marcelli</span>, Giovanni. Cremona +in 1696.</p> + +<p><span class="smcap">Marchetti</span>, Enrico. Turin, +nineteenth century. Good +maker.</p> + +<p><span class="smcap">Marchi</span>, Giovanni Antonio. +Bologna, 1740-95. Good violoncellos +and violins; violins +high model; beautiful maple-wood +back and sides; varnish +golden yellow.</p> + +<p><span class="smcap">Marco</span>, Antonio. Venice, 1700.</p> + +<p><span class="smcap">Marconcini</span>, Giuseppe. Pupil +of Storioni; Ferrara, where +he died at a great age, 1841; +unequal maker; very good +sometimes.</p> + +<p><span class="smcap">Marconcini</span>, Luigi. A pupil +of Omobono Stradivari, 1760; +Ferrara and Bologna; good +workmanship; pale red varnish.</p> + +<p><span class="smcap">Mariani</span>, Antonio. Pesaro, +1640 to 1700; not of much +value; reminds of Maggini, +but rough, purfling double.</p> + +<p><span class="smcap">Marino</span>, Bernardino. Rome. +Worked up to 1805.</p> + +<p><span class="pagenum" id="Page_261">[Pg 261]</span></p> + +<p><span class="smcap">Marquis de Lair.</span> Mirecourt, +1800. Violins and violoncellos +of Stradivari pattern; +work poor, the wood not +good; varnish ugly brown; +tone bad.</p> + +<p><span class="smcap">Marshall</span>, John. London +about 1750-60. Stainer pattern; +work good.</p> + +<p><span class="smcap">Martin.</span> A family of makers +in Paris, chiefly repairers.</p> + +<p><span class="smcap">Martin</span>, Jules. Germigny, +Vosges.</p> + +<p><span class="smcap">Martin.</span> London, 1790-95, who +lived at Hermitage Bridge, +Wapping.</p> + +<p><span class="smcap">Mast</span>, Jean Laurent. Paris, +1750. His instruments are +well made; violins; blackish +varnish.</p> + +<p><span class="smcap">Mast</span>, Josephus Laurent, son +of Jean Laurent Mast. Mirecourt; +still there in 1820; +better than his father, but +not very noteworthy.</p> + +<p><span class="smcap">Maucotel</span>, Charles, brother of +Charles Adolphe Maucotel. +1807-60, Mirecourt. Studied +under Gand; went to London; +excellent tone.</p> + +<p><span class="smcap">Maucotel</span>, Charles Adolphe, +brother of Charles. 1820-58, +Mirecourt. Apprenticed in +Mirecourt; went to Paris; +worked under J. B. Vuillaume; +excellent copyist of +Stradivari.</p> + +<p><span class="smcap">Maussiell</span> (or Mansiedl), Leonhardt. +Nuremberg, 1720-50. +Stainer pattern; very good.</p> + +<p><span class="smcap">Mayr</span> (Maier), Andreas Ferdinand. +Salzburg, about 1740-80. +Is said to have made the +small violin on which Mozart +learned to play.</p> + +<p><span class="smcap">Mayson</span>, Walter H. A maker +in Manchester who began as +an amateur, but soon adopted +violin-making as a profession. +His instruments are excellent.</p> + +<p><span class="smcap">Meares</span>, Richard. A maker of +lutes. London in 1677; lute +and viol-maker on verge of +the violin.</p> + +<p><span class="smcap">Médard</span>, Antoine, b. 1621. (<cite>See</cite> +p. 187.)</p> + +<p><span class="smcap">Médard</span>, François.</p> + +<p><span class="smcap">Médard</span>, Henri.</p> + +<p><span class="smcap">Médard</span>, Jean.</p> + +<p><span class="smcap">Médard</span>, Nicolas.</p> + +<p><span class="smcap">Médard</span>, Sébastien.</p> + +<p><span class="smcap">Meiberi</span>, Francesco. Leghorn, +1745-50.</p> + +<p><span class="smcap">Melling.</span> Paris, 1753-71.</p> + +<p><span class="smcap">Mellini</span>, Giovanni. Guastalla, +Italy, 1768.</p> + +<p><span class="smcap">Meloni</span>, Antonio. Milan, about +1670-95. Followed the Amati +pattern; his instruments are +small, but good tone.</p> + +<p><span class="smcap">Mennégand</span>, Charles. Nancy, +1885. Apprenticed at Mirecourt; +went to Paris and +Amsterdam; worked with +Rambaux; returned to Turin; +consummate repairer.</p> + +<p><span class="smcap">Mennesson</span>, Emile. 1842-98, +Rheims. Has made 2380 +violins; fine copyist of Stradivari’s +“Messiah” period; +gold medallist.</p> + +<p><span class="smcap">Mériotte</span>, Charles. Lyons +about 1730-60. Made on the +Stradivari pattern; yellow-brown +varnish; good workmanship.</p> + +<p><span class="smcap">Merlin</span>, Joseph. London, +1770-80. His violins and his +mechanical pegs for violins +and violoncellos at first the +vogue, but have not maintained +their place; he followed +the high Stainer model; +instruments were well made, +but tone not good.</p> + +<p><span class="smcap">Messeguer.</span> A Spanish maker, +1646.</p> + +<p><span class="smcap">Mette</span>, François. A maker in +the South of France.</p> + +<p><span class="smcap">Mezadri</span> (Mezzadie), Alessandro. +Ferrara, 1690-1720.<span class="pagenum" id="Page_262">[Pg 262]</span> +Amati school, but failed to +rival their grace; inferior +tone.</p> + +<p><span class="smcap">Mezadri</span> (Mezzadie), Francesco. +A maker at Milan about 1700-20; +his altos were of small +pattern.</p> + +<p><span class="smcap">Mialfi</span>, Joannes. A Spanish +maker about 1769; nothing +remarkable.</p> + +<p><span class="smcap">Michaud.</span> Paris about 1788.</p> + +<p><span class="smcap">Michelis</span>, Pelegrino (or Peregrino) +di Zanetto, son of +Zanetto de Michelis, b. 1520. +Made lutes and other instruments +in Brescia; on the +verge of the violin; a fine +tenor known.</p> + +<p><span class="smcap">Michelot</span>, Jacques Pierre. +Paris about 1780-95, at the +sign of “A la Mélodie.” He +made five-stringed viols and +violins.</p> + +<p><span class="smcap">Mier.</span> London, 1786.</p> + +<p><span class="smcap">Miggé</span>, Otto, b. June 16, 1857, +Coblenz; made 80 violins and +14 violoncellos; good tone.</p> + +<p><span class="smcap">Milani</span>, Francesco. Milan +about 1740-60. School of +Lorenzo Guadagnini.</p> + +<p><span class="smcap">Milhet.</span> Bayonne, 1820.</p> + +<p><span class="smcap">Mille.</span> Aix-la-Chapelle. A +small pocket-violin is known.</p> + +<p><span class="smcap">Miller.</span> London, 1750.</p> + +<p><span class="smcap">Miller</span>, A. St. Andrews, +Scotland.</p> + +<p><span class="smcap">Minozzi</span>, Matteo. Bologna, +eighteenth century.</p> + +<p><span class="smcap">Miraucourt</span>, Ludovic (or +Joseph). On verge of violin; +still made viols in 1743.</p> + +<p><span class="smcap">Miremont</span>, Claude Augustin, +son of Sébastien Miremont. +1827, Mirecourt; d. 1887, Pontorson +(Manche); in 1844 to +Paris, and worked first with +Lafleur, then with Bernardel +until 1852, when he left France +for America, and settled in +New York; returned to +France; made chiefly violoncellos; +excellent tone; Stradivari +pattern.</p> + +<p><span class="smcap">Miremont</span>, Sébastien. Mirecourt, +1810.</p> + +<p><span class="smcap">Modessier.</span> Paris in 1810. His +instruments a large pattern; +excellent wood.</p> + +<p><span class="smcap">Moers</span>, Jean Henri. Paris, +1771.</p> + +<p><span class="smcap">Mohr</span>, Philipp. Hamburg, 1650.</p> + +<p><span class="smcap">Moinel</span>, Charles, nephew of +N. E. Cherpitel. Paris, 1893. +Continued Cherpitel’s business.</p> + +<p><span class="smcap">Moitessier</span>, Louis. Mirecourt, +1780 to 1825. He made a large +number of instruments; many +violins; rather common; fair +tone.</p> + +<p><span class="smcap">Moldonner.</span> Fussen, Bavaria, +1756-98.</p> + +<p><span class="smcap">Molinari</span>, Antonio. Venice, +1672-1703.</p> + +<p><span class="smcap">Mongenot.</span> Rouen, 1763.</p> + +<p><span class="smcap">Montade</span> (Montani or Montaldi), +Gregorio. Cremona, +1690-1735. Pupil or imitator +of Omobono Stradivari; fairly +good.</p> + +<p><span class="smcap">Montagnana</span>, Domenico. A +celebrated maker in Venice +about 1720-50. (<cite>See</cite> p. 87.)</p> + +<p><span class="smcap">Montron.</span> Paris, 1780-90.</p> + +<p><span class="smcap">Morella</span>, Morglato. A maker +of lutes, rebecs, and viols, +1510-50; has lasted into the +violin epoch on account of his +viols having been cut down +for violas.</p> + +<p><span class="smcap">Morona</span>, Antonio. Istria (Istrien) +in 1731.</p> + +<p><span class="smcap">Morrison</span>, John. 1760-1830. +Poor maker; did job work for +the trade.</p> + +<p><span class="smcap">Mottenhaver</span>, Edward. New +York, U.S.A., who has taken +out a great many patents for +inventions.</p> + +<p><span class="smcap">Mougenot</span>, Georges. 1843-98, +Mirecourt (Vosges). Worked +in Brussels for N. F. Vuillaume,<span class="pagenum" id="Page_263">[Pg 263]</span> +and succeeded him; uses +“hands,” but plans and +finishes himself; gold medallist.</p> + + +<p><span class="smcap">Nadotti</span>, Giuseppe. Piacenza, +1760-70.</p> + +<p><span class="smcap">Namy</span>, Jean Théodore. Paris, +1755-1807; fine restorer; +worked for Salomon’s widow +in Paris.</p> + +<p><span class="smcap">Naylor</span>, Isaac. A pupil of +Richard Duke; worked at +Headingly, near Leeds, 1778-92.</p> + +<p><span class="smcap">Nermel</span>, J. M. Paris, 1777-89.</p> + +<p><span class="smcap">Neuner</span>, Ludwig. 1840, Mittenwald +(Bavaria). Grandson +of Mathias Neuner, also a +clever maker of violins, who +worked for some time in +London; worked for J. B. +Vuillaume, Paris; settled in +Berlin; accomplished maker; +sends out from his firm 20,000 +instruments a year; very +cheap and good money’s +worth; can do better quality +when he chooses.</p> + +<p><span class="smcap">Newton</span>, Isaac. London about +1775-1825. He made fairly +good instruments, but used +a dingy yellow varnish. Sometimes +made violins and violoncellos +for Betts, but these +were always varnished by the +latter.</p> + +<p><span class="smcap">Nezot.</span> Paris, 1730-60; transition +maker from viols to +violins; only a few violins.</p> + +<p><span class="smcap">Nicolas</span>, Didier, l’aîné (known +as “deaf Nicolas”), 1757-1833, +Mirecourt; clever workman +and large employer; large +pattern, loud tone; suitable +for orchestra.</p> + +<p><span class="smcap">Nicolas</span>, François Nicolas +Fourrier (was known simply +as “Nicolas”), b. Oct. 5, +1758. 1816, Paris. Made all +the instruments used in the +private orchestra of Napoleon +I.; careful choice of wood; +good proportions; closely +copied from beautiful specimens +of Cremona; not much +in fashion now, but good +violins of his still about.</p> + +<p><span class="smcap">Nicolas</span>, Joseph, son of Didier +Nicolas. 1796-1864. Mirecourt; +eccentric maker; after +his death his stamp and his +father’s sold off with stock, +and used for violins made +by neither. Pupil and successor +of his father.</p> + +<p><span class="smcap">Nicolas</span>, Mathieu. Mirecourt. +His instruments of ordinary +workmanship, some yellow or +red varnish.</p> + +<p><span class="smcap">Niggell</span>, Simpertus. A maker +of viols and violins. Fussen, +1743-66; transition maker of +viols and violins; flat pattern.</p> + +<p><span class="smcap">Norborn</span>, John. London, 1723.</p> + +<p><span class="smcap">Norman</span>, Barak, b. 1688; d. +1740. (<cite>See</cite> p. 125.)</p> + +<p><span class="smcap">Norris</span>, John, b. 1739, London; +d. March 10, 1818; pupil of +Thomas Smith; went into +partnership with Robert +Barnes in 1765.</p> + +<p><span class="smcap">Novello</span>, Pietro Valentino, +brother of Marco Antonio +Novello. Venice, eighteenth +century.</p> + +<p><span class="smcap">Novello</span>, Marco Antonio, a +brother of Pietro Valentino +Novello; in Venice at the +same time; good work.</p> + +<p><span class="smcap">Noversi</span>, Cosimo. Florence, +seventeenth century.</p> + + +<p><span class="smcap">Obbo</span>, Marco. Naples, 1712; +ordinary work.</p> + +<p><span class="smcap">Obici</span> (Obue), Bartolommeo. +Verona in 1684.</p> + +<p><span class="smcap">Odani</span>, Giuseppe Morello. +Naples, 1738.</p> + +<p><span class="smcap">Odoardi</span>, Giuseppe. Working +until 1675, Ascoli, Italy; some +confusion about his date,<span class="pagenum" id="Page_264">[Pg 264]</span> +1675-1740; died at 28; self-taught; +an original genius; +about two hundred violins; +much valued when can be +found.</p> + +<p><span class="smcap">Ohberg</span>, Johann. Stockholm +in 1773; fairly good; a yellow +varnish.</p> + +<p><span class="smcap">Oneda</span>, Gio. Battista, b. 1529. +A maker of cithers and violins +(?) in Brescia about +1562.</p> + +<p><span class="smcap">Ongaro</span>, Ignazio. Venice, 1783.</p> + +<p><span class="smcap">Orlandelli</span>, Paolo. Codogno, +Italy, eighteenth century.</p> + +<p><span class="smcap">Ortega.</span> 1840; maker and repairer. +Madrid.</p> + +<p><span class="smcap">Ostler</span>, Andreas. Breslau, 1730; +chiefly viols.</p> + +<p><span class="smcap">Otto</span>, Carl August, fourth son +of J. A. Otto; b. 1801, Jena; +d. 1883, Ludwigslust; maker +to the Mecklenberg-Schwerin +Court.</p> + +<p><span class="smcap">Otto</span>, Carl Christian, second +son of J. A. Otto, 1792; Halle; +repairs old instruments.</p> + +<p><span class="smcap">Otto</span>, C. W. F. Louis, fifth son +of J. A. Otto, 1805-84, Stockholm.</p> + +<p><span class="smcap">Otto</span>, Georg August Gottfried, +eldest son of J. A. Otto; 1789, +Weimar; 1857, Jena; good +maker.</p> + +<p><span class="smcap">Otto</span>, Heinrich Wilhelm, third +son of J. A. Otto; b. 1796. +Amsterdam and Berlin.</p> + +<p><span class="smcap">Otto</span>, Hermann, son of Ludwig +Otto, 1859-84. Cologne, St +Petersburg.</p> + +<p><span class="smcap">Otto</span>, Jacob August; b. 1764, +Gotha; d. 1830, Jena. Pupil +of Franz Anton Ernst at +Gotha; settled in Weimar; +maker to the Court; worked +also in Halle, Leipzig, Magdeburg, +Berlin, and Jena; fine +repairer, but made excellent +violins and violoncellos. His +five sons all became violin +makers.</p> + +<p><span class="smcap">Otto</span>, Ludwig, son of Georg +August Gottfried Otto; b. +1821, Jena; 1887, St Petersburg, +Cologne, St Petersburg. +He exhibited three violins, a +viola, violoncello, and double-bass, +in London, 1862. They +were all well made, and were +moderately priced.</p> + +<p><span class="smcap">Otto</span>, Louis, son of Carl August +Otto; b. July 15, 1844, Ludwigslust. +Pupil of his father +in Ludwigslust, 1860-65; in +Cologne, 1865-66, then went +to Hanover, 1872; then still +there (1898); careful in selection +of wood; large Stradivari +pattern; excellent work; has +made 238 violins, and many +tenors and ’cellos. First +prizeman, Chicago and Melbourne.</p> + +<p><span class="smcap">Ouvrard</span>, Jean. 1725-46; +pupil of Claude Pierray. +Transition maker, but true +violoncello pattern, though +continued to make viols.</p> + + +<p><span class="smcap">Pacherele</span>, Michel. A maker +in Paris in 1779; followed +Guersan; slightly arched; +yellow varnish.</p> + +<p><span class="smcap">Pacherele</span>, Pierre. 1803, Mirecourt; +1871, Nice; fellow-apprentice +of J. B. Vuillaume +at Mirecourt; worked +at Genoa, and with Pressenda, +Turin; made a great many +violins, altos, and violoncellos, +all of good workmanship; varnish +too thick; took Stradivari +for his model; a clever +repairer.</p> + +<p><span class="smcap">Pacquet.</span> From Aix; working +in Marseilles in 1785.</p> + +<p><span class="smcap">Padewet</span>, Johann. A good +maker; d. about 1874; started +at Basle, 1844, but moved to +Carlsruhe.</p> + +<p><span class="smcap">Padewet</span>, Johann, son of Johann +Padewet; b. Aug. 23, 1851-95,<span class="pagenum" id="Page_265">[Pg 265]</span> +Carlsruhe. Hanover, Berlin, +under Aug. Riechers till 1874. +Assisted by two workmen, he +makes forty to fifty instruments +(violins, violas, and +violoncellos) a year, on the +Stradivari pattern, using oil +varnish of reddish-yellow or +golden-brown colour; good +repairer.</p> + +<p><span class="smcap">Pagani</span>, Gian Battista. Cremona, +1747.</p> + +<p><span class="smcap">Paganoni</span>, Antonio. Working +in Venice in eighteenth century.</p> + +<p><span class="smcap">Pageot</span> (Pajeot), son of Louis +Simon Pageot; b. Jan. 25, +1791, Mirecourt; d. there +Aug. 24, 1849. A maker of +bows. In his workshops +about 8000 dozens of bows +were turned out at prices +varying from 6d. to 14s.</p> + +<p><span class="smcap">Palate.</span> Liège, 1710; Italian +pattern; excellent instruments.</p> + +<p><span class="smcap">Palma</span>, Paolo. Lucca, 1760.</p> + +<p><span class="smcap">Pamphilon</span>, Edward. A maker +in London, on London Bridge, +about 1680-90. (<cite>See</cite> p. 124.)</p> + +<p><span class="smcap">Pandolfi</span>, Antonio. Venice, +1700-20; good; yellow-brown +varnish.</p> + +<p><span class="smcap">Panormo</span>, Edward, either a son +or a grandson of Vincenzo +Panormo; he worked both in +London and in Ireland.</p> + +<p><span class="smcap">Panormo</span>, George. London. +Probably a grandson of Vincenzo +Panormo.</p> + +<p><span class="smcap">Panormo</span>, George Lewis, second +son of Vincenzo Panormo. +Very good bows; fine guitars +and a few good fiddles.</p> + +<p><span class="smcap">Panormo</span>, Joseph, eldest son +of Vincenzo Panormo. London. +Died in great poverty; +good workman; violoncellos +excellent.</p> + +<p><span class="smcap">Panormo</span>, Vincenzo (known as +“old Panormo”), b. Nov. 30, +1734, Monreale, a village near +Palermo, Sicily; d. 1813, London. +Began at sixteen; +worked in England, Ireland, +and Paris; perhaps with Bergonzi +in Cremona; excellent +maker; powerful tone; Stradivari +pattern; clear yellow +varnish; also guitars.</p> + +<p><span class="smcap">Panzani</span> (Pansani), Antonio. +Rome, 1735-85; good maker.</p> + +<p><span class="smcap">Paquotte</span> Frères. Henri +Félix, 1857, and Placide, 1864, +sons of Jean Baptiste Paquotte, +to whose business +they succeeded in July 1888. +Paris; a few violins; excellent +in tone, but firm chiefly +repaired.</p> + +<p><span class="smcap">Paquotte</span>, Jean Baptiste. +Nephew of Sébastien Paquotte; +one of the best Paris +makers of the day, 1860-88.</p> + +<p><span class="smcap">Paquotte</span>, Sébastien. Mirecourt, +1800-63, Paris. In 1830 +he founded the business in +Paris.</p> + +<p><span class="smcap">Paraldic.</span> 1722.</p> + +<p><span class="smcap">Pardi.</span> Paris, 1788.</p> + +<p><span class="smcap">Pardini</span>, Bastiano. 1700.</p> + +<p><span class="smcap">Paris</span>, Claude. Paris, 1775. In +1816 was joined by his nephew; +spirit varnish, a red-yellow +colour.</p> + +<p><span class="smcap">Parker</span>, Daniel. London, 1740-85. +A very clever workman, +possibly a pupil of Urquhart +or Pamphilon. Red varnish, +wood excellent, tone clear and +powerful. He made largely +for the trade; his instruments +are often sold under +other names; no viola or +violoncello of his known. +About 1793 instruments +valued at five guineas each; +about 1805 they realised as +much as fifteen.</p> + +<p><span class="smcap">Parth</span> (or Perth), Andreas +Nicolas. Vienna about 1790.</p> + +<p><span class="pagenum" id="Page_266">[Pg 266]</span></p> + +<p><span class="smcap">Pasta</span>, Domenico and Gaetano. +Brescia about 1700-30; followed +the Amati instead of +the Maggini pattern; poor +tone; varnish brown.</p> + +<p><span class="smcap">Patzelt</span>, Johann Ferdinand. +Vienna.</p> + +<p><span class="smcap">Pazzini</span>, Gian Gaetano. Florence, +1630-70. According to +label a pupil of Maggini; +instruments are not common.</p> + +<p><span class="smcap">Pearce</span>, George; b. Nov. 16, +1820, Warminster; d. 1856, +London. In the workshop of +S. A. Forster as errand-boy, +taught violin-making, and +became an excellent workman.</p> + +<p><span class="smcap">Pearce</span>, James and Thomas. +Brothers working in London, +1780-1800; work poor.</p> + +<p><span class="smcap">Pearce</span>, William. London.</p> + +<p><span class="smcap">Peccate</span>, Charles. Maker of +bows in Paris, 1889.</p> + +<p><span class="smcap">Peccate</span>, Dominique. 1810, +Mirecourt; d. there, Jan. 13, +1874. In 1826 was apprenticed +to J. B. Vuillaume at +Paris, and worked with him +until 1837; then François +Lupot died, and Dominique +succeeded to his business at +18 Rue d’Angivilliers; returned +to Mirecourt; ranks +next to François Tourte as a +bow-maker; at first sold for +16s., now price quadrupled.</p> + +<p><span class="smcap">Peccate</span>, jeune. A brother of +Dominique; also made bows; +worked for J. B. Vuillaume; +work is inferior to that of his +brother, 1856.</p> + +<p><span class="smcap">Pedrazzi</span>, Fra Pietro. A +Dominican friar; working in +Bologna in 1784.</p> + +<p><span class="smcap">Pemberton</span>, Edward. London +in 1660; instruments ugly, +but tone good and the varnish +fine. It has been suggested +that a Pemberton was +the maker of the instrument +presented to the Earl of +Leicester by Queen Elizabeth +which has “J. 15/78 P.” +engraved on the tail-pin—supposed +to be the initials of +the maker and the date of +the year (1578) in which it +was made. If so, he was the +earliest English maker of +the four-stringed violin.</p> + +<p><span class="smcap">Perault.</span> A maker in Paris, +1775-77.</p> + +<p><span class="smcap">Péron</span> (or Perou), Nicolas. +Paris, 1775-90; appointed +maker to the Duchess of +Orléans; instruments well +made; yellow-brown varnish; +Gagliano pattern.</p> + +<p><span class="smcap">Perry</span>, Thomas. A maker in +Dublin, 1767-1827. He was +in partnership with William +Wilkinson; they made good +violins.</p> + +<p><span class="smcap">Persoit.</span> Maker of excellent +bows in Paris. He made for +J. B. Vuillaume, 1823-41; +but then started a business +of his own. He marked his +bows “P. R. S.”</p> + +<p><span class="smcap">Peters</span>, Michael. Weyberg +in 1801, judging from two +labels in a bass-viol of seven +strings; the first runs: “Dieses +Instrument ist gemacht, anno +1627,” the second is “Arranschirt +von Michael Peters in +Weyberg, anno 1801.”</p> + +<p><span class="smcap">Petz.</span> Fussen, Bavaria, 1770.</p> + +<p><span class="smcap">Pezzardi.</span> Brescia, 1580-1610; +violins similar to those of +Maggini; sometimes sold as +Maggini.</p> + +<p><span class="smcap">Pfab.</span> Hamburg.</p> + +<p><span class="smcap">Pfretzschner</span>, Carl Friedrich, +son of Johann Gottlob Pfretzschner. +Worked in Cremona; +no great merit.</p> + +<p><span class="smcap">Pfretzschner</span>, Johann Gottlob. +Cremona, 1794; not +good.</p> + +<p><span class="smcap">Pfretzschner.</span> Neukirchen.</p> + +<p><span class="pagenum" id="Page_267">[Pg 267]</span></p> + +<p><span class="smcap">Pichol.</span> Paris.</p> + +<p><span class="smcap">Picino.</span> Padua, 1712; instruments +arched; dark varnish.</p> + +<p><span class="smcap">Pierrard</span>, Louis, 1890. A +maker of excellent violins, +with red-brown varnish, and +of good tone, Brussels; pupil +of Mougenot, but started his +own business in 1883; wrote +“Traité de lutherie.”</p> + +<p><span class="smcap">Pierray</span> (or Pierret), Claude. +A contemporary of Boquay; he +worked in Paris about 1700-30.</p> + +<p><span class="smcap">Piete</span> (<span class="smcap">Picte</span>), Noel. Paris, +1760-1810; beautifully finished +workmanship.</p> + +<p><span class="smcap">Pillement</span>, F. Paris, 1790-1820; +capricious maker; dark +varnish.</p> + +<p><span class="smcap">Pilosio</span>, Francesco. Gorizia in +1748.</p> + +<p><span class="smcap">Pique</span>, François Louis; b. 1758 +at Rorei, near Mirecourt; d. +1822, Charenton St Maurice. +Went to Paris in 1777.</p> + +<p><span class="smcap">Pirot</span>, Claude. Paris, 1800-20; +good violins, Italian pattern; +bellies slightly arched, backs +hardly at all; the sound-holes +well cut; varnish thick, +red-brown or pale yellow +colour.</p> + +<p><span class="smcap">Pitet</span> (or Pilet). A maker in +Paris latter part of the seventeenth +century; no great +value.</p> + +<p><span class="smcap">Pizzurmus</span> (Pozzurnus), David. +Genoa, 1760.</p> + +<p><span class="smcap">Plack</span> (Plach), Francis. Schœnbock, +Bohemia, 1740-80; good +violins.</p> + +<p><span class="smcap">Plane</span>, W. Glasgow, 1860.</p> + +<p><span class="smcap">Plani</span>, Agostino de. Genoa in +1778; commonplace.</p> + +<p><span class="smcap">Platner</span>, Michele. A Swiss; +working in Rome in 1747; +fair workmanship; rather +arched; scroll well cut; varnish +golden-red.</p> + +<p><span class="smcap">Plumerel.</span> Was working in +Paris in 1740.</p> + +<p><span class="smcap">Plumerel</span>, Charles. Angers, +France, in 1822.</p> + +<p><span class="smcap">Poiros</span>, Louis. French maker.</p> + +<p><span class="smcap">Poirson</span>, Eloph. Paris, 1875-89; +first an amateur, afterwards +made for the trade; good +work.</p> + +<p><span class="smcap">Polis.</span> Luca de. Cremona in +1751.</p> + +<p><span class="smcap">Pollusca</span> (Pollusha), Antonio. +Rome in 1751.</p> + +<p><span class="smcap">Pons</span>, César. Grenoble, 1780-1820; +violins large size, arched; +work not good.</p> + +<p><span class="smcap">Polron</span>, Peeter. A double-bass +used in the Cathedral of +Antwerp is dated 1647.</p> + +<p><span class="smcap">Postacchini</span>, Andrea. Firmo, +1824; excellent maker, and +good repairer of instruments.</p> + +<p><span class="smcap">Postiglione</span>, Vincenzo. 1835 +at Naples; good maker, and +made many instruments, +which rise every year in +value.</p> + +<p><span class="smcap">Powell</span>, Royal and Thomas. +Two brothers who worked +in London, 1770-1800; employed +by William Forster, +and his son, William Forster; +work neat and good.</p> + +<p><span class="smcap">Pressenda</span>, Giovanni Francesco; +b. 1777, Turin; d. +there, 1854. Was the son of +a strolling fiddler, Raffaele +Pressenda; went to Cremona; +there studied violin-making +under Lorenzo Storioni; +learnt there to make the +varnish for which his violins +were afterwards noted; Stradivari +pattern, not much arched, +sound-holes well cut, proportions +correct, wood good, but +scrolls rather roughly finished; +red-brown varnish of excellent +quality.</p> + +<p><span class="smcap">Preston</span>, John. York, 1785-95.</p> + +<p><span class="pagenum" id="Page_268">[Pg 268]</span></p> + +<p><span class="smcap">Prevôt</span> (or Prevost), P. Charles. +Paris from 1775-89.</p> + +<p><span class="smcap">Prieur</span>, Claude Edme Jean. +Paris, 1775-89.</p> + + +<p><span class="smcap">Quinot</span>, Jacques. Paris, 1660. +Mentioned in 1680 as being +“one of the most clever of the +honourable luthiers of Paris.”</p> + + +<p><span class="smcap">Racceris.</span> Mantua, 1670; similar +to the Gagliano family, +with one of whom he is said +to have been in partnership.</p> + +<p><span class="smcap">Raffaelle</span>, Nella (or Della). +Brescia, 18th century; pattern +of Maggini; his instruments +have the sides ornamented +with inscriptions; +brown varnish; no great +merit.</p> + +<p><span class="smcap">Rambaux</span>, Claude Victor, 1806-71; +at Darney in the Vosges; +d. at Mirecourt. Went to Caen +and worked under Thibout, +1824-27; then to Paris, where +he worked with Gand; great +repairer and adapter of old +instruments by cutting down.</p> + +<p><span class="smcap">Ramfpler</span>, Franz, 1834-90, +Munich; pupil of Andreas +Engleder, Munich; used his +own invented varnish; made +good fiddles.</p> + +<p><span class="smcap">Rance</span>, Thomas. Brussels, +about 1680-85.</p> + +<p><span class="smcap">Ranta</span>, Pietro. Brescia, 1733; +Amati pattern.</p> + +<p><span class="smcap">Rasura</span>, Vincenzo. Lugo, 1785.</p> + +<p><span class="smcap">Rau</span>, J. F. Nuremberg; exhibited +at Munich in 1854 a +violin of good though rather +coarse tone.</p> + +<p><span class="smcap">Rauch</span>, Breslau, and Rauch +of Würzburg, two brothers, +1730-60; good violins; used +their own models; varnish +red; tone sound.</p> + +<p><span class="smcap">Rauch</span>, Jacob. Mannheim, +1720-50; good work; violins +Stainer tone; excellent altos, +violoncellos, and double-basses.</p> + +<p><span class="smcap">Rauch</span>, Sebastian, 1725-90 +Hamburg, and Leitmeritz in +Bohemia; violins arched, not +remarkable.</p> + +<p><span class="smcap">Raut</span>, Jean. Bretagne; who +worked in Rennes till about +1790; pattern of Guarneri; +red varnish.</p> + +<p><span class="smcap">Rautmann.</span> Brunswick.</p> + +<p><span class="smcap">Rawlins.</span> London in 1779.</p> + +<p><span class="smcap">Rayman</span>, Jacob; b. in the +Tyrol, but settled in London +about 1620-48.</p> + +<p><span class="smcap">Razenzo</span>, Carole. Barcelona, +1690.</p> + +<p><span class="smcap">Realli</span>, Cosmo Battista. Parma, +1667.</p> + +<p><span class="smcap">Rechiardini</span>, Giovanni (called +“Zuano”). Venice, 18th century.</p> + +<p><span class="smcap">Regnaut</span> (Renault), Jacques. +Paris, 1665-85; a little pocket-violin, +with silver purfling, +was dated 1682; maker to +the King.</p> + +<p><span class="smcap">Reichel</span>, Johann Conrad, +brother of Johann Gottfried. +Neukirchen in 1779.</p> + +<p><span class="smcap">Reichel</span>, Johann Gottfried, +brother of Johann Conrad. +Absam; pupil of Stainer; +work rough; red-brown varnish +of poor quality.</p> + +<p><span class="smcap">Remy.</span> A French maker; 1840, +Paris and London; Italian +pattern; wood artificially +aged.</p> + +<p><span class="smcap">Remy</span>, Hippolyte, eldest son +of Jean Mathurin Remy. +1835-70 in Paris; no great +merit.</p> + +<p><span class="smcap">Remy</span>, Jean Mathurin, son of +Mathurin François Remy; +b. 1770, Paris; d. 1854; his +work same as father’s; oil +varnish.</p> + +<p><span class="smcap">Remy</span>, Jules Hippolyte, second +son of Jean Mathurin Remy; +b. 1813, Paris; d. 1876.</p> + +<p><span class="pagenum" id="Page_269">[Pg 269]</span></p> + +<p><span class="smcap">Remy</span>, Mathurin François, +1775-91, Paris; yellow-brown +varnish.</p> + +<p><span class="smcap">Renaudin</span>, Léopold; b. 1749, +at Mirecourt; guillotined, +May 7, 1795. He settled in +Paris, living in the Rue St +Honoré from 1776 till his +death at the sign of “Aux +amateurs”; fairly good violins, +but too much arched; +varnish almost black in +colour; excellent double-basses.</p> + +<p><span class="smcap">Renault</span>, Nicolas. A French +maker, 16th century.</p> + +<p><span class="smcap">Renault</span>, Sébastien. Paris, +1775-1805. Cithers of his are +known dated 1779, 1786, and +1804; a violin is described as +made on a good pattern, with +yellow varnish of fair quality; +worked with F. Chatelain. +Advt.: “Renault et Chatelain, +luthiers, font et vendent +louent, achètent et raccommodent +toutes sortes d’instruments +de musique, etc., à +Paris.”</p> + +<p><span class="smcap">Renisto.</span> Cremona, 1735-40; +pupil of Carlo Bergonzi, whose +work he copied closely.</p> + +<p><span class="smcap">Resle</span>, Andrea. Fiesso in 1740; +good.</p> + +<p><span class="smcap">Reynaud</span>, André. Tarascon, +1754-66; good violoncellos.</p> + +<p><span class="smcap">Richards.</span> London.</p> + +<p><span class="smcap">Richelme</span>, A. Marius. Marseilles; +curves of the upper +and lower bouts almost returning +to the ancient viol-shape. +He published in +Marseilles, 1868: “Etudes +et observations sur la lutherie +ancienne et moderne.”</p> + +<p><span class="smcap">Ricolazzi</span>, Lodovico, 1729.</p> + +<p><span class="smcap">Riechers</span>, 1836, Hanover; d. +1893, Berlin. Was first a +pupil of L. Bausch at Leipzig, +then moved to Berlin in 1872, +at the special request of the +violinist, Joseph Joachim; +made excellent instruments +on the Stradivari and Guarneri +patterns; about 1000 +violins and over 200 violoncellos +were made in his workshop.</p> + +<p><span class="smcap">Riess.</span> A maker, Bamberg, +about 1740-60; fair maker; +Stainer pattern.</p> + +<p><span class="smcap">Rinaldi</span>, Benedetto Gioffredo, +Pupil of Pressenda; d. 1890. +Turin.</p> + +<p><span class="smcap">Rivolta</span>, Giacomo. Milan, 1822. +Good work.</p> + +<p><span class="smcap">Rocca</span>, Giuseppe Antonio. +Turin, 1835-55; worked at +one time for Pressenda; +Stradivari pattern; varnish +is poor quality.</p> + +<p><span class="smcap">Röscher</span>, C. H. W. Bremen, +1871.</p> + +<p><span class="smcap">Roger</span>, G. Montpellier, 1820.</p> + +<p><span class="smcap">Rogeri</span>, Gian Battista; b. Bologna, +1650. Cremona, under +Nicolo Amati; Stradivari was +a fellow-pupil of his.</p> + +<p><span class="smcap">Roismann</span>, Johann. Breslau, +1680.</p> + +<p><span class="smcap">Rol.</span> Paris, 1753.</p> + +<p><span class="smcap">Romano</span>, Pietro. Pavia, 18th +century.</p> + +<p><span class="smcap">Romarini</span>, Antonio. Cremona, +18th century.</p> + +<p><span class="smcap">Rombouts</span>, Pieter. Amsterdam, +1705-35; he made violins, +violas, and violoncellos, +much arched; bright but +thick varnish.</p> + +<p><span class="smcap">Rook</span>, Joseph. London, about +1777-1830; good work; Forster +pattern.</p> + +<p><span class="smcap">Ropiquet.</span> Paris, 1810-30; he +was an orchestral player; +made some violins of no great +value.</p> + +<p><span class="smcap">Rosiero</span>, Rocco. Cremona, +early part of 18th century.</p> + +<p><span class="smcap">Rosio</span>, Paolo. 1857, Verolanuova; +Brescia.</p> + +<p><span class="pagenum" id="Page_270">[Pg 270]</span></p> + +<p><span class="smcap">Rota</span>, Giovanni. Cremona, +1800-10; rough work; varnish +yellow.</p> + +<p><span class="smcap">Rota</span>, Giuseppe Antonio. +Turin, 1825; his work similar +to that of Pressenda; varnish +is red-brown.</p> + +<p><span class="smcap">Roth</span>, Johann and Christian. +Both about 1675, the former +at Darmstadt and the latter +at Augsburg.</p> + +<p><span class="smcap">Rottenbrouck.</span> Brussels, +1700-25; pattern of Amati; +red-brown varnish.</p> + +<p><span class="smcap">Rovetta</span>, Antonio. Bergamo, +1840-70.</p> + +<p><span class="smcap">Roze.</span> Orléans, 1755-65; good +workmanship; varnish yellow.</p> + +<p><span class="smcap">Ruggeri</span> (Rugieri), Francesco. +1668-1720. Was the first of a +family of makers in Cremona, +very often confused with +Rogeri of Brescia. (<cite>See</cite> p. +50.)</p> + +<p><span class="smcap">Ruggeri</span> (Rugieri), Giacinto, +son of Francesco Ruggeri; +b. in Cremona.</p> + +<p><span class="smcap">Ruggeri</span> (Rugieri), Guido. +Cremona about 1720.</p> + +<p><span class="smcap">Ruggeri</span> (Rugieri), Pietro +Giacomo and Giovanni Battista. +Both working in +Brescia about 1700-25.</p> + +<p><span class="smcap">Ruggeri</span> (Rugieri), Vincenzo, +son of Francesco Ruggeri. +Cremona about 1700-30, is +also said to have worked in +Brescia. He made many +altos and violoncellos; work +rough; last member of this +family to make violins. He +also used “il Per” on his +labels, for the same reason, +probably, viz., to distinguish +his work from that of the +Rogeri of Brescia.</p> + +<p><span class="smcap">Ruggeri</span>, Gianbattista. Cremona, +<cite>cir.</cite> 1693.</p> + +<p><span class="smcap">Ruppert</span>, Johann Heinrich. +Erfurt about 1720. His violins, +altos, and violoncellos +were of a flat model, without +linings, corner blocks, or purfling; +loud tone, and dark +brown varnish.</p> + + +<p><span class="smcap">Sacchini</span>, Sabattino. Pesaro +in 1686.</p> + +<p><span class="smcap">Sacquin.</span> Paris about 1830-60; +instruments well made, +especially the double basses; +followed the Stradivari pattern.</p> + +<p><span class="smcap">Saint-Paul</span>, Antoine. Paris, +about 1765-90. He was son-in-law +and successor of Louis +Guersan; his advertisement +says, “Il fait et vend toutes +sortes d’instruments de musique +sçavoir; violons de +Cremone, violons de sa façon +et de toutes sortes d’auteurs; +alto-violas, basses et contrebasses.”</p> + +<p><span class="smcap">Saint-Paul</span>, Pierre. Paris, +1740.</p> + +<p><span class="smcap">Sajot.</span> Paris, 1730-35; instruments +with flat backs; varnish +yellow-brown; the work +poor.</p> + +<p><span class="smcap">Salino</span>, J. B. Rome in 1760; +very arched; varnish bad, +brown.</p> + +<p><span class="smcap">Salle</span>, le Père. Paris about +1825-53. He made a few +violins; beautiful copies of +Guarneri; fine repairer and +great connoisseur.</p> + +<p><span class="smcap">Salomon</span>, Jean Baptist Deshayes. +Rheims, 1747-70 (?); +went to Paris, where his widow +carried on the firm, employing +Namy; later he settled in +the Rue de l’Arbre-sec (about +1769). He died before 1772, +for in that year Namy is +mentioned as working for the +widowed Madame Salomon. +He made few violins, but +they show good work, and +are on a similar pattern to<span class="pagenum" id="Page_271">[Pg 271]</span> +those of Louis Guersan, his +contemporary; they have +yellow-brown varnish; unequal +maker; some good +violoncellos and bass viols.</p> + +<p><span class="smcap">Salzard</span>, F. Paris.</p> + +<p><span class="smcap">Sanoni</span>, Giovanni Battista. +Verona, 1740; instruments +much arched; rose-coloured +varnish; good work.</p> + +<p><span class="smcap">Santagiuliana</span>, Giacinto. +Venice, 1830.</p> + +<p><span class="smcap">Sante</span>, Pesaro. 1670.</p> + +<p><span class="smcap">Sante</span>, Giuseppe. Rome, 1778.</p> + +<p><span class="smcap">Santo</span>, Giovanni. Naples, +1700-30; copied Amati; +small pattern; well made; +varnish poor.</p> + +<p><span class="smcap">Santo Serafino</span>; b. at Udine; +worked in Venice about +1710-48. (<cite>See</cite> p. 90.)</p> + +<p><span class="smcap">Sanzo Santino</span> (Santo Sentino). +Milan, 18th century; +good; resembles Grancino.</p> + +<p><span class="smcap">Saraceni</span>, Domenico. Florence, +17th century.</p> + +<p><span class="smcap">Saraillac</span>, François. Lyons, +1678-1712.</p> + +<p><span class="smcap">Sassano.</span> Fine Italian maker; +rarely met with; yellow varnish; +beautiful free tone.</p> + +<p><span class="smcap">Saunier</span>, Edmond. 1754-80, +Bordeaux and Paris. Was a +pupil of Lambert of Nancy, +the “Carpenter,” but did +superior work.</p> + +<p><span class="smcap">Savani</span>, Giuseppe. Carpi, +1809.</p> + +<p><span class="smcap">Sawitzki</span> (Sawicki), Nicolaus; +b. 1792, Poland; d. 1850; +settled in Vienna; good.</p> + +<p><span class="smcap">Scarampella</span>, Giuseppe, son +of Paolo Scarampella; 1838-80 +(?), Brescia, Paris, Florence. +He restored the viola +and the famous violoncello +of Stradivari kept in the +Istituto Musicale of Florence, +and in 1884 succeeded Castellani +as keeper of the collection +of instruments there; makes +new instruments, following +the Stradivari or Guarneri del +Gesù patterns; tone clear and +strong; the work carefully +done; reddish oil varnish.</p> + +<p><span class="smcap">Scarampella</span>, Paolo; b. Sept. +25, 1803, Brescia; d. April 7, +1870. A carpenter by trade, +but made many violins, violoncellos, +guitars, and mandolines.</p> + +<p><span class="smcap">Scarampella</span>, Stefano, son of +Paolo Scarampella. Brescia, +1843; settled in Mantua; +made many good violins.</p> + +<p><span class="smcap">Schaendl</span>, Anton. Mittenwald, +1753.</p> + +<p><span class="smcap">Scheinlein</span>, Johann Michael, +son and pupil of Matthäus +Friedrich Scheinlein; 1751, +Langenfeld; large Stainer pattern, +but avoided the arching; +full and pleasant tone; but +wood not being thick enough, +so not durable.</p> + +<p><span class="smcap">Scheinlein</span>, Matthäus Friedrich, +1710, Langenfeld in +Franken (Franconia); d. +there, 1771. A violinist, but +taking great interest in violin-making, +began by repairing +old instruments and finished +by making new ones; +much arched; dark brown +varnish; work careful.</p> + +<p><span class="smcap">Schelmayer</span>, Christian. +Cologne.</p> + +<p><span class="smcap">Schlick</span>, Leipzig.</p> + +<p><span class="smcap">Schmidt.</span> Cassel, 1817; Stradivari +pattern, but edges are +larger and purfling not so +close to the sides; spirit varnish; +wood of bad quality.</p> + +<p><span class="smcap">Schmied.</span> Vienna, 18th century.</p> + +<p><span class="smcap">Schönfelder</span>, Johann Adam. +Neukirchen in 1743.</p> + +<p><span class="smcap">Schonger</span>, Franz. Erfurt, 18th +century; fairly good.</p> + +<p><span class="smcap">Schonger</span>, Georg, son of Franz +Schonger. Erfurt; better<span class="pagenum" id="Page_272">[Pg 272]</span> +than his father, and left some +good violins; Italian pattern; +good repairer.</p> + +<p><span class="smcap">Schorn</span>, Johann Paul; 1680-1716, +Innsbrück; made excellent +violins; much arched; +good varnish.</p> + +<p><span class="smcap">Schünemann</span>, Otto. German; +appointed Director of the +School of Violin-Making at +Schwerin.</p> + +<p><span class="smcap">Schulz</span>, Peter. Ratisbon, +1854; German school; good.</p> + +<p><span class="smcap">Schuster</span>, Gebrüder. Brothers +who make cheap fiddles, 75s., +good tone, at Markneukirchen.</p> + +<p><span class="smcap">Schuster</span>, Michael. Also connected +with the business in +Markneukirchen, Saxony.</p> + +<p><span class="smcap">Schwartz</span>, Bernard. French +maker who settled at Strasburg, +1795-1822; two sons, +both makers.</p> + +<p><span class="smcap">Schwartz</span>, Georges Frédéric; +1785-1849; and Théophile +Guillaume, 1787; Strasburg, +1861, sons of Bernard +Schwartz. Pupils of their +father, and at his death succeeded +to his business, which +became “Frères Schwartz.” +Théophile was chiefly concerned +in the instrument-making, +Georges gave his +time to making bows; he +gained a well-merited reputation. +His bows are generally +marked near the nut +with “Schwartz, Strasbourg.”</p> + +<p><span class="smcap">Schwartz</span>, Théophile Guillaume, +son of Théophile +Guillaume Schwartz; b. Sept. +3, 1821. In 1852 he succeeded +to the business in Strasburg +at 2 Place Saint-Thomas; +chiefly repairer.</p> + +<p><span class="smcap">Schweizer</span>, Johann Baptist. +Budapest, 1798-1875; pupil +of Geisenhof in Vienna; his +violins not arched; work neat.</p> + +<p><span class="smcap">Segher</span>, Girolamo; b. 1646. +Was a pupil of Nicola Amati, +and was working under him, +1680-82.</p> + +<p><span class="smcap">Seni</span>, Francesco. Florence in +1634.</p> + +<p><span class="smcap">Serasati</span>, Domenico. Naples, +1710-50; fair.</p> + +<p><span class="smcap">Siciliano</span> (Ciciliano), Antonio. +Venice about 1600. A tenor +and a bass viola da gamba in +the Modena Museum, Vienna.</p> + +<p><span class="smcap">Siciliano</span>, Gioacchino, son of +Antonio Siciliano. Venice +about 1680.</p> + +<p><span class="smcap">Silvestre</span>, Hippolyte; 1808, +Saint-Nicolas-du-Port (Meurthe); +1879, Sommerviller, +near Nancy. Was first a +pupil of Blaise at Mirecourt, +then of J. B. Vuillaume at +Paris.</p> + +<p><span class="smcap">Silvestre</span>, Pierre, brother of +Hippolyte; b. Aug. 9, 1801, +at Sommerviller, near Nancy; +d. 1859, Lyons. Was also a +pupil of Blaise at Mirecourt, +then went to Paris; worked +with Lupot; excellent violins; +made about 350 instruments, +bearing his label: “Pierre +Silvestre à Lyon, 185—.” +When working with his +brother, the label used was: +“Petrus et Hippolytus Silvestre +fratres fecerunt Lugdun.”</p> + +<p><span class="smcap">Simon.</span> Salzburg, 1722.</p> + +<p><span class="smcap">Simon</span>, Claude. Paris, 1733-88.</p> + +<p><span class="smcap">Simon</span>, P.; b. 1808, Mirecourt. +Went to Paris in 1838, where +he worked for some months +under D. Peccate; then to J. +B. Vuillaume; made most +excellent bows, and generally +marked them with “Simon, +Paris,” near the nut.</p> + +<p><span class="smcap">Simonin</span>, Charles. Mirecourt. +Was apprenticed to J. B. +Vuillaume at Paris, and became +one of his most able<span class="pagenum" id="Page_273">[Pg 273]</span> +workmen. In 1841 he settled +in Geneva, then went to Toulouse; +excellent maker.</p> + +<p><span class="smcap">Simoutre</span>, Nicolas. 1788, Mirecourt; +d. 1870, at Metz. His +son, Nicolas Eugène, was also +a maker.</p> + +<p><span class="smcap">Simoutre</span>, Nicolas Eugène, son +of Nicolas Simoutre. 1834-89, +Mirecourt. Was first a pupil +of his father, then of Darche +in 1852 at Paris; then of Ch. +Roth in 1856 at Strasburg; +worked in Strasburg, Mulhausen, +Basle, and Paris; a +prolific writer on his art.</p> + +<p><span class="smcap">Simpson</span>, James, and Son. +Were musical instrument +makers in London in 1794.</p> + +<p><span class="smcap">Sirjean.</span> Maker of bows in +Paris, 1818.</p> + +<p><span class="smcap">Sitt</span>, A. Prague, 1854. Stradivari +pattern, which improve +with age.</p> + +<p><span class="smcap">Slaghmeulen</span>, Jan Baptist van +der. Antwerp, 1672. The +varnish a pale brown.</p> + +<p><span class="smcap">Smith</span>, Thomas. London, 1740-90. +Pupil and successor of +Peter Wamsley; fine violoncellos; +Stainer pattern; rising +in price. John Norris was a +pupil of his. Label: “Made +by Thos. Smith at the harp +and hautboy in Pickadilly. +London, 1756;” similar labels +were used until 1766.</p> + +<p><span class="smcap">Smith</span>, William. Hedon, Yorkshire, +in 1786.</p> + +<p><span class="smcap">Sneider</span>, Giuseppe. Pavia, +1700-25. A pupil of Nicola +Amati. Violins slightly +arched; varnish is a rich +yellow colour; instruments +made by Girolamo, son of +Nicola Amati, have often +been attributed to Sneider.</p> + +<p><span class="smcap">Snoeck</span> (Schnoeck), Egidius. +Brussels, 1731. Amati pattern; +dark reddish varnish.</p> + +<p><span class="smcap">Snoeck</span>, Marc. Brussels, 1744. +Clever repairer.</p> + +<p><span class="smcap">Socchi</span>, Vincenzo. Bologna, +1661.</p> + +<p><span class="smcap">Socquet</span>, Louis. Paris, 1750-80. +Not good.</p> + +<p><span class="smcap">Soliani</span>, Angelo. Modena, +1752-1810.</p> + +<p><span class="smcap">Somer</span>, Nicolas. Paris, 1725-50.</p> + +<p><span class="smcap">Speiler.</span> A German maker, +18th century.</p> + +<p><span class="smcap">Sprenger</span>, Anton. 1834, Mittenwald. +Makes violins and +violoncellos on the Stradivari +and Guarneri patterns; oil +varnish of good quality.</p> + +<p><span class="smcap">Stadelmann</span> (Statelmann), +Daniel Achatius. 1680-1744, +Vienna, who showed great +ability in imitating the Stainer +pattern; he used thin varnish +of a deep amber colour; the +work is well finished.</p> + +<p><span class="smcap">Stadelmann</span> (Statelmann), +Johann Joseph, son of Daniel +A. Stadelmann; good copyist +of Stainer, 1764.</p> + +<p><span class="smcap">Stadl</span>, Michael Ignatius. +Vienna in 1770. Fair.</p> + +<p><span class="smcap">Stainer</span>, Andreas. Was working +in Absam about 1660; +made few violins.</p> + +<p><span class="smcap">Stainer</span>, Jacob, son of Martin +Stainer and Sabina Grafinger. +(<cite>See</cite> p. 93.)</p> + +<p><span class="smcap">Stainer</span>, Marcus, brother and +pupil of Jacob Stainer; he +worked in Laufen, Austria.</p> + +<p><span class="smcap">Stanza</span>, Giuseppe, b. 1663 in +Venice. Pupil of Nicola +Amati at Cremona.</p> + +<p><span class="smcap">Statlee</span>, Anderl. Genoa, 1714. +Pupil of Girolamo, son of +Nicola Amati.</p> + +<p><span class="smcap">Steininger</span>, François. Paris, +1827. Excellent maker.</p> + +<p><span class="smcap">Steininger</span>, Jacob. Frankfort, +1775. Nicholas Diehl was a +pupil of his.</p> + +<p><span class="smcap">Stirbat</span> (Stirrat), David. Edinburgh, +1810-15; good.</p> + +<p><span class="pagenum" id="Page_274">[Pg 274]</span></p> + +<p><span class="smcap">Storioni</span>, Lorenzo. 1751-80, +Cremona. Worked at 3 Contrada +Coltellai; he was one +of the latest, if not the last +of the celebrated makers of +Cremona, and his instruments, +though of great merit, show +signs of decadence in the art. +(<cite>See</cite> p. 88.)</p> + +<p><span class="smcap">Stoss</span>, Bernard and Martin. +Fussen, Bavaria; worked in +Vienna; fair makers.</p> + +<p><span class="smcap">Stoss</span>, Franz. Fussen, Bavaria, +1750-98.</p> + +<p><span class="smcap">Stradivari</span> (Stradiuarius), +Antonio, son of Alessandro +Stradivari and Anna Moroni. +(<cite>See</cite> p. 61.)</p> + +<p><span class="smcap">Stradivari</span>, Francesco, son of +Antonio Stradivari. 1671-1743.</p> + +<p><span class="smcap">Stradivari</span>, Omobono, son of +Antonio. 1679-1742.</p> + +<p><span class="smcap">Straube</span> (Staube). Berlin +about 1770-75. Few known, +but good; excellent repairer.</p> + +<p><span class="smcap">Straus</span>, Joseph. Neustadt, +1745-50.</p> + +<p><span class="smcap">Strnad</span>, Caspar. 1750. He +settled in Prague and worked +there, 1781-95; good maker.</p> + +<p><span class="smcap">Strobl</span>, Johann. Hallein in +18th century.</p> + +<p><span class="smcap">Sturge</span>, H. 1811-53, Bristol; +repairer, Huddersfield.</p> + +<p><span class="smcap">Sulot</span>, Nicolas. Dijon, 1825-40. +Eccentric maker.</p> + +<p><span class="smcap">Sursano</span> (Sorsano), Spiritus. +Cuneo, 1714-35; inferior.</p> + + +<p><span class="smcap">Tachinardi.</span> Cremona, 1690.</p> + +<p><span class="smcap">Tadolini.</span> Modena, 19th century.</p> + +<p><span class="smcap">Tanegia</span>, Carlo Antonio. +Milan, 1725-30.</p> + +<p><span class="smcap">Tanigardi</span> (Taningard), +Georgio. Rome, 1735.</p> + +<p><span class="smcap">Tarr</span>, William. Manchester, +1829-55; made some fair +double-basses.</p> + +<p><span class="smcap">Tassini</span>, Bartolommeo. Venice, +1754; followed Testore.</p> + +<p><span class="smcap">Taylor</span>, 1750, London; supposed +pupil of Panormo; +good instruments, principally +double-basses, and clever at +repairing old ones.</p> + +<p><span class="smcap">Techler</span> (Tecchler), David; +1666-1743. (<cite>See</cite> p. 102.)</p> + +<p><span class="smcap">Tedesco</span> (Todesco), Leopoldo, +1625-58; pupil of Nicola +Amati in Cremona, 1653-54.</p> + +<p><span class="smcap">Teoditi</span> (Teoditti), Giovanni. +Rome, 17th century.</p> + +<p><span class="smcap">Ternyanini</span>, Pietro. Modena, +1755.</p> + +<p><span class="smcap">Testator</span>, “Il Vecchio.” Milan, +1520; reputed transition maker +from viol to violin.</p> + +<p><span class="smcap">Testore</span>, Carlo Antonio, eldest +son of Carlo Giuseppe Testore. +Milan, 1735-65; followed +the Guarneri model; +violoncellos and tenors very +good; varnish golden-yellow.</p> + +<p><span class="smcap">Testore</span>, Carlo Giuseppe; b. at +Novarra; settled at Milan +about 1687, and worked there +till about 1720; pupil of Giovanni +Grancino, for whose +work his instruments are +often mistaken; best workman +in this family, but made +few instruments. When the +well-known Lindley “Grancino” +violoncello was repaired +in 1884, the removal of the +Cremona label exposed the +original label in good preservation, +as follows: “Carlo +Giuseppe Testore allievo di +Gio. Grancino in Contrada +Larga di Milano, 1690.” A +double-bass of his was played +on by the celebrated Bottesini +at concerts; it had a +splendid tone. Label: “Carlo +Giuseppe Testore in Contrada +larga di Milano al segno dell +aquila, 1700.” He had two +sons, Carlo Antonio and<span class="pagenum" id="Page_275">[Pg 275]</span> +Paolo Antonio, both violin-makers.</p> + +<p><span class="smcap">Testore</span>, Giovanni, son of Carlo +Testore, <cite>q.v.</cite></p> + +<p><span class="smcap">Testore</span>, Paolo Antonio, second +son of Carlo Giuseppe Testore +and the last maker of this +name.</p> + +<p><span class="smcap">Thériot</span>, J. B. Paris, 1783.</p> + +<p><span class="smcap">Thibout</span>, Aimé Justin. 1808-62, +Caen.</p> + +<p><span class="smcap">Thibout</span>, Albert, son of Gabriel +Adolphe Thibout. 1839-65, +Paris; succeeded his uncle, +Gabriel Eugène, as “luthier +de l’Opéra,” and was succeeded +in his turn by the +brothers Gand.</p> + +<p><span class="smcap">Thibout</span>, Gabriel Adolphe, son +of Jacques Pierre Thibout, +1804; Paris, 1858; not as +good as his father.</p> + +<p><span class="smcap">Thibout</span>, Gabriel Eugène, son +of Jacques Pierre Thibout. +1825 at Paris; succeeded his +brother, Gabriel Adolphe, as +“luthier de l’Opéra” in Paris; +1861, Boulogne-sur-Mer.</p> + +<p><span class="smcap">Thibout</span>, Jacques Pierre. 1777-1856, +Caen. First worked at +Caen, then under Koliker at +Paris; fine maker; excellent +tone; workmanship rivals +best Cremona style; varnish +red on amber ground. Advt.: +“Nouveau procédé approuvé +par l’Institut. Thibout, luthier +du roi, rue Rameau, no. +8, à Paris, 1825.”</p> + +<p><span class="smcap">Thibouville-Lamy</span>, Jérôme. +A little before 1867 he became +sole proprietor of the various +factories at Mirecourt; he +gradually substituted mechanical +for manual labour, and +while increasing the number +of instruments made, at the +same time reduced their price, +so that at last he was able to +exhibit at Vienna in 1873 his +famous violins at 4s., 8s., and +16s. each. By 1887, 35,000 +instruments had been made +by this firm. He was awarded +a medal, Vienna, 1873; +medal of honour, Santiago, +1875; prize medal, Philadelphia, +1876; and gold medal, +London, 1885. He was made +Chevalier of the Legion of +Honour, April 10, 1877, and +Officer, Jan. 15, 1892.</p> + +<p><span class="smcap">Thin</span>, Mathias and Georg. +Vienna, 18th century; good.</p> + +<p><span class="smcap">Thir</span>, Johann Georg. Vienna, +1791.</p> + +<p><span class="smcap">Thomassin.</span> Worked under +Clément at Paris, 1825-45; +good.</p> + +<p><span class="smcap">Thompson</span> (Thomson), Robert. +London, at the sign of the +“Bass-Violin,” in St. Paul’s +Churchyard, 1749-64; Stainer +pattern. He was succeeded +by his sons, Charles and +Samuel, who worked about +1775-85.</p> + +<p><span class="smcap">Thorowgood</span>, Henry. London, +18th century. Label: +“Made and sold by Henry +Thorowgood at the Violin +and Guitar under the North +Piazza of the Royal Exchange, +17—, London.”</p> + +<p><span class="smcap">Thumhardt</span>, Munich and +Straubing in the 18th century; +German style.</p> + +<p><span class="smcap">Tielke</span>, Joachim. One of a +family of makers. Hamburg, +1539-1701. He was celebrated +for the lutes, theorbos, +guitars, and especially the +viols of all kinds which he +made, of very fine tone, ornamented +with the richest and +most varied inlaid work; one +violin of his is also mentioned.</p> + +<p><span class="smcap">Tilley</span>, Thomas. London, +1774.</p> + +<p><span class="smcap">Tiphanon</span> (Thiphanon), Jean +François. Paris, 1775-1800.</p> + +<p><span class="pagenum" id="Page_276">[Pg 276]</span></p> + +<p><span class="smcap">Tirler</span>, Carlo. Bologna, +18th century.</p> + +<p><span class="smcap">Tobin</span>, Richard. London, 1790-1840; +pupil of Perry, Dublin; +worked for John Betts; followed +the Stradivari or Guarneri +patterns; good maker. +A son of his was also a +maker.</p> + +<p><span class="smcap">Todini</span>, Michele, 1625. Lived +in Rome; made a few violins.</p> + +<p><span class="smcap">Tolbecque</span>, Auguste, son of +Auguste Joseph Tolbecque; +1830-51, Paris. He was a +violoncellist; also worked at +violin-making under Rambaux +in Paris; made a small +number of new instruments; +extremely clever at restoring +old ones.</p> + +<p><span class="smcap">Tononi</span>, Antonio. Bologna, +17th century.</p> + +<p><span class="smcap">Tononi</span>, Carlo, son of Felice. +First worked, 1698-1739, Bologna; +settled in Venice. His +instruments vary; they are +generally of a large pattern, +not so highly arched as those +of his brother Giovanni; varnish +similar to that of Santo +Serafino; yellow-brown colour. +He often branded his +monogram near the button of +the tailpiece.</p> + +<p><span class="smcap">Tononi</span>, Felice. Bologna, +1670-90. He worked with +his son Giovanni; their violoncellos +have a great reputation +in Italy.</p> + +<p><span class="smcap">Tononi</span>, Giovanni, son of Felice. +Worked in Bologna till about +1705; few instruments of his +are to be found.</p> + +<p><span class="smcap">Toppani</span>, Angelo de. Rome, +1720-40. His instruments +are rarely seen, are similar +to those of Techler, but more +arched; varnish golden-yellow; +sound-holes are cut +large.</p> + +<p><span class="smcap">Torelli.</span> Verona, 1625.</p> + +<p><span class="smcap">Toring</span> (Torring). Maker and +repairer of violins; London, +1800.</p> + +<p><span class="smcap">Tortobello</span>, Francesco. +Rome, 1680; Maggini pattern.</p> + +<p><span class="smcap">Touly</span>, Jean. Nancy, 1730-47. +Label: “Fait par moy Jean +Touly à Nancy, 1747.”</p> + +<p><span class="smcap">Tourte</span>, François (“le jeune”); +b. 1747, Paris; d. there, April +1835. Was a younger brother +of Xaver Tourte. (<cite>See</cite> p. 163.)</p> + +<p><span class="smcap">Tourte</span>, le Père. Settled in +Paris about 1740.</p> + +<p><span class="smcap">Tourte</span>, Xaver (l’aîné), eldest +son of Tourte père.</p> + +<p><span class="smcap">Trapani</span>, Raffaele. Naples, +1810; workmanship is good; +violins large patterns, with +prominent edges and heavy +purfling; the scroll Brescian +type; varnish thick and of a +red-brown colour.</p> + +<p><span class="smcap">Trévillot</span>, Claude. Mirecourt, +1698.</p> + +<p><span class="smcap">Trinelli</span>, Giovanni. Italian.</p> + +<p><span class="smcap">Trunco.</span> Cremona, 1660.</p> + +<p><span class="smcap">Truska</span>, Simon Joseph, 1734-1809, +Raudnitz, Bohemia. +Entered Strahow Monastery, +Dec. 8, 1758, taking the vows, +Jan. 1, 1761. Became proficient +as a musician and +composer, and then began to +construct instruments, making +violins, altos, violas +d’amore, and bass-viols.</p> + +<p><span class="smcap">Tubbs</span>, James. A maker of +excellent bows, Wardour +Street, London.</p> + +<p><span class="smcap">Turner</span>, William. London in +1650; splendid wood. Label: +“William Turner, at ye hand +and crown in gravelle lane +neere Aldgate, London, +1650.”</p> + +<p><span class="smcap">Tywersus.</span> Instruments are +similar to those of Andrea +Amati. Nicolas Renault was +a pupil of his. (<cite>See</cite> p. 187.)</p> + +<p><span class="pagenum" id="Page_277">[Pg 277]</span></p> + + +<p><span class="smcap">Ugar</span>, Crescenzio. Rome in +1790; work is German in +character; brown varnish.</p> + +<p><span class="smcap">Ungarini</span>, Antonio. Fabriano, +1762.</p> + +<p><span class="smcap">Urquhart</span>, Thomas. A maker +in London about 1650-80; he +was probably a Scotchman. +His work resembles that of +Jacob Rayman, with whom +he may have worked, and +shows great merit. His violins +are of two sizes, some on +a small, others on a large +pattern, very arched, the +corners not very prominent, +the purfling narrow and placed +close to the edge; the oil +varnish, of a yellowish-brown +or sometimes red colour, is of +excellent quality, and is similar +to Italian varnish; the +tone is clear and silvery. His +violins and violas are rare, +and no violoncello of his has +been seen. Urquhart is sure +to rise in value, and some of +his work is splendid in finish.</p> + + +<p><span class="smcap">Vaillant</span> (Vaillot or Vaillaut), +François. Paris, 1736-83; +good workmanship; varnish +poor.</p> + +<p><span class="smcap">Valentine</span>, William. London, +died about 1877; made good +double-basses.</p> + +<p><span class="smcap">Valler.</span> Marseilles, 1683.</p> + +<p><span class="smcap">Vandelli</span>, Giovanni. Modena, +1796-1839; fair work.</p> + +<p><span class="smcap">Vanderlist.</span> Paris, 1788-89. +Guadagnini pattern and varnish. +He branded his name +on his instruments. Label: +“Luthier, rue des Vieux-Augustins, +près de l’égout de +la rue Montmartre, Paris.”</p> + +<p><span class="smcap">Varotti</span>, Giovanni. Bologna, +1813.</p> + +<p><span class="smcap">Varquain.</span> Paris, 1742.</p> + +<p><span class="smcap">Vauchel</span>, Joseph. Damm +about 1840. He exhibited +two violins at Munich in +1854, which had a fine tone, +and was awarded the medal +of honour. Hörlein was a +pupil of his.</p> + +<p><span class="smcap">Venzi</span>, Andrea. Florence, 1636.</p> + +<p><span class="smcap">Verbruggen</span>, Theodor. Is +known as one of the makers +in Antwerp in 1641 by a +double-bass which he made +for use in the Cathedral.</p> + +<p><span class="smcap">Verini</span>, Andrea. 1884.</p> + +<p><span class="smcap">Verle</span>, Francesco. Padua +about 1590. Label: “In +Padova Francesco Verle.”</p> + +<p><span class="smcap">Vermesch</span>, le Père. Beaumont-sur-Oise +in 1781.</p> + +<p><span class="smcap">Véron</span>, Pierre André. Paris +about 1720-50; good work; +pattern Italian.</p> + +<p><span class="smcap">Vetrini</span>, Battista. Brescia +about 1629; small pattern; +wood is excellent; good +yellow varnish.</p> + +<p><span class="smcap">Vetter</span>, Jeane Christophe. +Strasburg in 1744.</p> + +<p><span class="smcap">Viard</span>, Nicolas. Versailles, +1790.</p> + +<p><span class="smcap">Vibert</span>, J. B. Paris, 1775.</p> + +<p><span class="smcap">Vibrecht</span>, Gysbert. Amsterdam, +1700-10.</p> + +<p><span class="smcap">Villaume et Giron.</span> In a +violin of fairly good workmanship +was the printed +label: “Villaume et Giron, +Troyes, 170—.”</p> + +<p><span class="smcap">Vimercati</span>, Pietro. Do not +confound with Gaspar, a +lute-maker. A maker in +Brescia in the 17th century; +is thought to have been a +pupil of Carlo Tononi in +Venice; instruments arched; +Maggini pattern.</p> + +<p><span class="smcap">Vinaccia</span>, Antonio. The head +of a family of makers; worked +in Naples, 1766-74; pattern +of Gagliano. Two sons, Gennaro +and Gaetano, were also +makers, but chiefly of mandolines.</p> + +<p><span class="pagenum" id="Page_278">[Pg 278]</span></p> + +<p><span class="smcap">Vinaccia</span>, Pasquale, son of +Gaetano, 1806-81.</p> + +<p><span class="smcap">Vincenzi</span>, Luigi. Carpi in +1775.</p> + +<p><span class="smcap">Viorillo</span>, Giovanni. Ferrara, +1780; followed Stainer pattern.</p> + +<p><span class="smcap">Vir</span>, Hieronimo di. Bresa, +Silesia.</p> + +<p><span class="smcap">Vitor</span>, de. A maker in Brescia +in 1740; instruments similar +in appearance to those of +Maggini; large pattern; fine +workmanship.</p> + +<p><span class="smcap">Vitus de Angelis.</span> Bologna, +1609.</p> + +<p><span class="smcap">Vivoli</span>, Giovanni. Florence, +1642.</p> + +<p><span class="smcap">Voel</span>, E. Mayence, 1840; his +instruments follow the Stradivari +more than the German +pattern; general workmanship +good.</p> + +<p><span class="smcap">Vogel</span>, Wolfgang; d. Feb. 17, +1650, Nuremberg; instruments +much liked.</p> + +<p><span class="smcap">Vogler</span>, Johan Georg. Würzburg +in 1749. Label: “Johann +Georg Vogler, Lauten und +Geigenmacher in Würzburg, +17—.” His son was the celebrated +Abbé Georg Joseph +Vogler.</p> + +<p><span class="smcap">Vogt.</span> Good instruments, +Vienna, in the Speigel-Gasse.</p> + +<p><span class="smcap">Voigt</span>, Martin. Hamburg, 1726. +His work is similar to that +of Tielke. A bass-viol, the +back inlaid in ivory, having +Apollo, Venus, Mercury, and +Diana represented, was dated +Hamburg, 1726, and was exhibited +at the South Kensington +Museum, London, 1872.</p> + +<p><span class="smcap">Voirin</span>, François Nicolas. 1833, +at Mirecourt; 1885, Paris. +After working at Mirecourt, +he went to Paris in 1855, and +for fifteen years made bows +for J. B. Vuillaume; he obtained +as “collaborateur” a +“mention honourable” at the +1867 Paris Exhibition; gold +and silver medalist, Paris, +1867 and 1878; followed the +Tourte pattern, but made the +head of his bow less square; +his workmanship shows wonderful +finish and elegance. +He was awarded a silver +medal at the Paris Exhibition +in 1878, the only prize +given to bow-making; and +some of his bows exhibited +after his death at the Antwerp +Exhibition were awarded +a gold medal. <a id="tn_278">He</a> branded +his bows with “F. N. Voirin, +à Paris”; to this was added, +on those bows exhibited at +Paris, 1878, “Exposition, +1878.”</p> + +<p><span class="smcap">Vuillaume</span>, Claude; b. 1772, +Mirecourt; d. 1834. He is +the first member known of +this family of violin-makers.</p> + +<p><span class="smcap">Vuillaume</span>, Claude François, +fourth son of Claude Vuillaume; +b. March 1807, Mirecourt. +His son, Sébastien, +was also a maker.</p> + +<p><span class="smcap">Vuillaume</span>, Jean; b. 1700; d. +1740. A maker in Mirecourt; +is said to have been a pupil +of Stradivari, but his work +shows no sign of it.</p> + +<p><span class="smcap">Vuillaume</span>, Jean Baptiste, +eldest son of Claude Vuillaume. +1798, Mirecourt; 1875, +at Paris. (<cite>See</cite> p. 110.)</p> + +<p><span class="smcap">Vuillaume</span>, Nicolas, second +son of Claude Vuillaume. +1800-71, Mirecourt. Worked +with Jean Baptiste, his elder +brother, for ten years at +Paris.</p> + +<p><span class="smcap">Vuillaume</span>, Nicolas François, +third son of Claude Vuillaume. +1802, Mirecourt; 1876, Brabant. +He worked with his +brother, Jean Baptiste, Paris; +made fair instruments, and<span class="pagenum" id="Page_279">[Pg 279]</span> +was a fine copyist of Stradivari.</p> + +<p><span class="smcap">Vuillaume</span>, Sébastien, son of +Claude François Vuillaume; +b. 1835; d. 1875, Paris. He +was the last maker of this +family, and continued to make +bows on the same pattern +as Jean Baptiste Vuillaume, +having in his possession the +machine for cutting bows +which J. B. V. had invented +shortly before his death. +Bronze and silver medals: +Paris, 1867; Havre, 1868.</p> + + +<p><span class="smcap">Wagner</span>, Benedict. A maker +of lutes and violins in Estwangen +in 1769.</p> + +<p><span class="smcap">Wagner</span>, Joseph. Constance, +18th century.</p> + +<p><span class="smcap">Waldaner.</span> Fussen, 1770.</p> + +<p><span class="smcap">Walter</span>, Jean. Paris, 1775-1800.</p> + +<p><span class="smcap">Wamsley</span>, Peter. A maker in +London about 1715-51. He +had at one time a great reputation, +especially for his +violoncellos. He copied the +Stainer pattern very closely, +and also made a few imitations +of Stradivari instruments; +but in his attempts +to obtain an Italian quality +of tone he thinned the wood +too much, making the tone +sound hollow. His violoncellos +with thicker wood have +a fine tone, so have his double-basses; +the latter are rare, and +generally have red varnish.</p> + +<p><span class="smcap">Weaver</span>, Samuel. London; +known by his printed label, +“All sorts of musical instruments +made and sold by +Saml. Weaver on London +Bridge.”</p> + +<p><span class="smcap">Weickert.</span> Halle, 1800.</p> + +<p><span class="smcap">Weigert</span>, Johann Blasius. +Linz, 1721; a viola d’amore +known, labelled: “Joann +Blasius Weigert Lauten und +Geigenmacher in Linz, 1721.”</p> + +<p><span class="smcap">Weisz</span> (Weiss), Jacob. Salzburg, +1733-61.</p> + +<p><span class="smcap">Wenger</span>, Gregor Ferdinand. +Salzburg, 1750-60.</p> + +<p><span class="smcap">Wenger.</span> Padua, 1622.</p> + +<p><span class="smcap">Wettenengel</span>, Gustav Adolph. +Neukirchen, Saxony, 1828. +He wrote an excellent practical +treatise on violin-making.</p> + +<p><span class="smcap">Weymann</span>, Cornelius. Amsterdam, +1682.</p> + +<p><span class="smcap">Widhalm</span> (Withalm), Leopold. +Nuremberg, about 1750-80; +imitated Stainer; wood carefully +chosen, sometimes too +thin; the varnish red colour, +good quality. Several of his +violins have double purfling, +and are branded with his +initials inside.</p> + +<p><span class="smcap">Wightman</span>, George. Only +known by his label: “George +Wightman, Wood Street, +London, 1761.”</p> + +<p><span class="smcap">Willems</span>, Hendrick. Ghent, +Belgium, 1650-1700. An alto +of large pattern has remarkably +fine wood used for the +belly; the corners are prominent +and squared at the +end; Brescian model; the +neck ends in a lion’s head; +the outline and the beautiful +finish could almost be +mistaken for Italian work, +but the varnish is too dry. +Nearly all his instruments +have beautiful wood for the +belly, but walnut, lime-tree, +or plane-tree wood is frequently +used for the back +and the sides, especially in +the case of the basses.</p> + +<p><span class="smcap">Willems</span>, Hendrick. Ghent; +some time after the previous +Hendrick already mentioned. +He made a violoncello or bass +with five strings, labelled: +“Heyndrick Willems tot<span class="pagenum" id="Page_280">[Pg 280]</span> +Ghendt, 1717.” A violin, +dated 1743, had the belly +made of carefully selected +pine, the back of walnut, and +the sides (very exceptional) +of maple.</p> + +<p><span class="smcap">Willems</span>, Jooris. Ghent, 1630-65; +a cornet-player, 1634-71. +The first mention of him is in +August 1634; used lime-wood +and finely-figured maple; +Italian style.</p> + +<p><span class="smcap">Willer.</span> Prague, 18th century.</p> + +<p><span class="smcap">Wise</span>, Christopher. Transition +maker of viols and violins in +London, 1656; small pattern, +not much arched; yellow +varnish, good quality; careful +work. Label: “Christopher +Wise, in Half-Moon Alley, +without Bishops-Gate, London, +1656.”</p> + +<p><span class="smcap">Withers</span>, Edward. He succeeded +to William Davis’s +business at 31 Coventry +Street, London, in December +1846. Both Charles Maucotel +and Boullangier worked under +him at one time.</p> + +<p><span class="smcap">Withers</span>, Edward, eldest son +of Edward Withers, b. Oct. 22, +1844. Pupil of his father and +John Lott. Commenced business +at 31 Coventry Street, +London, in 1856; makes about +twelve instruments per year, +on the Stradivari and Guarneri +patterns, using good oil +varnish, amber colour.</p> + +<p><span class="smcap">Witting</span>, Johann Georg. Mittenwald, +about 1775; his instruments +are well made; +dark varnish.</p> + +<p><span class="smcap">Wornum</span>, Robert, 1742-1815. +A music-seller in Glasshouse +Street, also a violin and violoncello +maker.</p> + +<p><span class="smcap">Worte</span>, Matthias. Augsburg, +1639.</p> + +<p><span class="smcap">Wright</span>, Daniel. London, 1745. +Label: “Made by Daniel +Wright in Holborn, London.”</p> + + +<p><span class="smcap">Zach.</span> Vienna; makes good +instruments.</p> + +<p><span class="smcap">Zanfi</span>, Giacomo. Modena, +1756-1822.</p> + +<p><span class="smcap">Zanoli</span>, Giacomo. Padua, 1740.</p> + +<p><span class="smcap">Zanoli</span>, Giambattista. Verona, +1730; rough work; German +style.</p> + +<p><span class="smcap">Zanotti</span>, Antonio. Lodi and +Mantua, 1734.</p> + +<p><span class="smcap">Zanotti</span>, Giuseppe. Piacenza, +18th century.</p> + +<p><span class="smcap">Zanti</span>, Alessandro. Mantua, +1770; Stradivari pattern; poor +varnish.</p> + +<p><span class="smcap">Zenatto</span>, Pietro. Treviso, 1634.</p> + +<p><span class="smcap">Zimbelmann</span>, Filippo. Florence, +1661.</p> + +<p><span class="smcap">Ziverger</span> (Zwerger), Anton. +Mittenwald, 1750; good wood; +dark varnish; fair finish.</p> +</div> +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> +<p><span class="pagenum" id="Page_281">[Pg 281]</span></p> + +<p class="center">BIBLIOGRAPHY</p> +</div> +<br> + +<p>It is very difficult to define my obligations to previous writers and +advisers when I owe almost everything to them; but I am bound +to state specially, that without Messrs Hill & Sons’ assistance and +counsel, and the works of Fétis, Vidal, George Hart, Heron-Allen, +and Mr Fleming, I could not have written this book at all. The +preceding list of makers has been largely adopted from Miss +Stainer’s elaborate Music Primer, “Violin Makers,” published by +Novello.</p> + +<br> +<p class="center">ENGLISH.</p> + +<div class="blockquot"> + +<p><span class="smcap">Hamilton, J. A.</span> Hamilton’s “Catechism for the Violin.” +London, 1848. R. Cocks & Co. Fifteenth Edition, +1883, contains Preface by John Bishop.</p> + +<p><span class="smcap">Fétis, François Joseph.</span> “Biographical Notice of Nicolo +Paganini.” Includes a sketch of the history of the violin. +Schott & Co. 8vo.</p> + +<p><span class="smcap">Jousse, J.</span> “Theory and Practice of the Violin.” London, +1811.</p> + +<p><span class="smcap">Macdonald, John.</span> “Practice and Theory of the Violoncello” +(printed for Author). London, 1811. Appendix, 1815. Also +“A Treatise on the Harmonic System, Divisions of Strings, +&c. &c.” London, 1822.</p> + +<p><span class="smcap">Otto, Jacob Augustus.</span> “Treatise on the Construction, Preservation, +and Repairs of the Violin.” London: Longmans, 1833.</p> + +<p><span class="pagenum" id="Page_282">[Pg 282]</span></p> + +<p><span class="smcap">Dubourg, George.</span> “The Violin.” H. Colburn. London, 1836. +Small octavo, fifth edition. Enlarged by John Bishop, of +Cheltenham, 1878. R. Cocks.</p> + +<p><span class="smcap">Mackintosh.</span> “Remarks on the Construction and Materials +employed in the Manufacture of the Violin.” Dublin, 1837. +8vo pamphlet.</p> + +<p><span class="smcap">Paine, John.</span> “A Treatise on the Violin.” Printed for the Author, +1850.</p> + +<p><span class="smcap">Purdy, George.</span> “A Few Words on the Violin.” W. G. +Goulburn, 1858.</p> + +<p><span class="smcap">Sandys, William</span>, and <span class="smcap">Forster, Simon Andrew</span>. “The History +of the Violin.” London, 1864. J. R. Smith, Addison, & +Lucas. Large 8vo.</p> + +<p><span class="smcap">Fétis, François, Joseph.</span> “Notice of Anthony Stradivari.” R. +Cocks. Large 8vo. 1864.</p> + +<p><span class="smcap">Pearce, Joseph</span>, jun. “Violins and Violin-makers.” Longmans, +1866.</p> + +<p><span class="smcap">Adze, Willet.</span> “Musical Notes,” including “Violinists” and +“The Violin and its History.” London, 1869. R. Bentley.</p> + +<p><span class="smcap">Davidson, Peter.</span> “The Violin.” Pitman: Edinburgh, Aberdeen, +1871. Small octavo. Fourth edition, 1881.</p> + +<p><span class="smcap">Reade, Charles.</span> “A Lost Art Revived.” Gloucester, 1873. +John Bellowes. Large 8vo.</p> + +<p><span class="smcap">Goffrie, Charles.</span> “The Violin.” Philadelphia, U.S.A., 1876. +G. André & Co. 8vo pamphlet.</p> + +<p><span class="smcap">Smith, H. P.</span> “The Construction of the Violin.” Syracuse, +U.S.A., n.d. (1877). Roblee & Co.</p> + +<p><span class="smcap">Schebek, Dr Edmund.</span> “The Violin Manufacture in Italy and +its German Origin.” London, 1877. W. Reeves. Large 8vo +pamphlet.</p> + +<p><span class="smcap">Broadhouse, John.</span> “Facts about Fiddles.” London, n.d. +(1879). W. Reeves.</p> + +<p><span class="smcap">Porter, Thomas.</span> “How to Choose a Violin.” London, n.d. +(1879). F. Pitman. 8vo.</p> + +<p><span class="smcap">Nicholson, J.</span> “Designs and Plans for the Construction and +New Model of Violin, and Arrangement of the New Model +Violin.” London, 1880. Printed by H. K. Lewis. Large folio.</p> + +<p><span class="pagenum" id="Page_283">[Pg 283]</span></p> + +<p><span class="smcap">Hart, George.</span> “The Violin, its Famous Makers.” London, +1875, 1884, 1880. Dulan & Schott. Large post 4to and +small 8vo.</p> + +<p><span class="smcap">Hart, George.</span> “The Violin and its Music.” London, 1881. +Dulan & Schott.</p> + +<p><span class="smcap">Gemünder, George.</span> George Gemünder’s “Progress in Violin-making.” +Astoria, New York, 1881. Published by the Author.</p> + +<p><span class="smcap">Reade, Charles.</span> “Jack of All Trades.” London, 1882. Chatto +& Windus.</p> + +<p><span class="smcap">Heron-Allen, Edward.</span> “Opuscula Fidicularum.” London, +1882. Mitchell & Hughes.</p> + +<p><span class="smcap">Heron-Allen, Edward.</span> “De Fidiculis Opusculum” II. London, +1883. Mitchell & Hughes.</p> + +<p><span class="smcap">Heron-Allen.</span> “Markneukirchen Arts and Crafts Book” +(translated).</p> + +<p><span class="smcap">Hill & Sons.</span> (1) “The Messie,” (2) “The Tuscan,” (3) “Gio. +Paolo Maggini.” Novello, Ewer & Co.</p> + +<p><span class="smcap">Chanot, Georges.</span> “Hodges <i lang="la">v.</i> Chanot.” London, 1882. +Mitchell & Hughes. Large 8vo pamphlet.</p> + +<p><span class="smcap">Engel, Carl.</span> “Researches into the Early History of the Violin +Family.” London, 1883.</p> +</div> + +<br> +<p class="center">ITALIAN.</p> + +<div class="blockquot"> + +<p><span class="smcap">Zanneti, Gasparo.</span> “Il Scolaro.” Milan, 1645.</p> + +<p><span class="smcap">Tartini, Giuseppe.</span> A Letter from the late Signor Tartini to +Signora Maddalena Lombardini, translated by Dr Burney. +London, 1771. R. Bremner.</p> + +<p><span class="smcap">Bagatella, Antonio.</span> “Regole per la Costruzione de’ Violini, +Viole, Violoncelli, et Violoni.” Padova, 1786. A spese dell’ +Accademia.</p> + +<p><span class="smcap">Pancaldi, Carlo.</span> “Progresso Italiano nella Costruzione del Violino +operato da Antonio Gibertini da Parma.” Palermo, 1845. +Tipografia Maddalena. Small 8vo.</p> + +<p><span class="smcap">Regli, Francesco.</span> “Storia del Violino in Piemonte.” Turin, 1863. +Enrico Dalmazzo. Large 8vo.</p> + +<p><span class="pagenum" id="Page_284">[Pg 284]</span></p> + +<p><span class="smcap">Lombardini, Paolo.</span> “Cenni sulla celebre scuola Cremonese degli +stromenti ad arco.” Cremona, 1872. Tipografia dalla Noce. +Large 8vo.</p> + +<p><span class="smcap">Rinaldi, Benedetto-Gioffredo.</span> “Classica Fabbricazione di +Violini.” Turin, 1873. Rinaldi. Large 8vo pamphlet.</p> + +<p><span class="smcap">Valdrighi, Luigi Francesco.</span> “Liuteria Modenese antica e +moderna.” Modena, 1878. Toschi. 8vo.</p> + +<p>—— Musurgiana No. 9. “Strumenti ad arco Rinforzati.” +Modena, 1881. G. T. Vincenzi e Nep. Large 8vo pamphlet.</p> +</div> + +<br> +<p class="center">FRENCH.</p> + +<p> +<span class="smcap">Rousseau, Jean.</span> “Traité de la Viole.” Paris, 1687. Ch. Ballard. +8vo.<br> +<br> +<span class="smcap">Leblanc, Hubert.</span> “Défense de la basse de Viole contre les +Entreprises du Violon et les pretensions du Violoncelle.”<br> +Amsterdam, 1740. P. Mortier. 16mo.<br> +<br> +<span class="smcap">Jacquot, A.</span> “Music in Lorraine.”<br> +<br> +<span class="smcap">Terrasson, A.</span> “Sur la Vielle.” Paris, 1741.<br> +<br> +<span class="smcap">Leclair, Jean Marie.</span> “Tablature idéale du Violon.” Paris, 1766.<br> +8vo.<br> +<br> +<span class="smcap">Sibire, L’Abbé.</span> “La Chelonomie.” Paris, 1806. Brussels, chez<br> +l’Aullur et Millet. Second Edition, 1823. Weissenbruch. 8vo. +<br> +<span class="smcap">Chanot, François.</span> “Rapport fait à l’Académie des Beaux Arts<br> +3 Avril 1819.” Paris, 1819. 4to.<br> +<br> +<span class="smcap">Contanger (Le Dr Henri).</span> Gaspard Duiffoprugcar et les Luthiers<br> +lyonnais du xvi<sup>e</sup> Siecle. Paris, 1893. Fischbacher.<br> +<br> +<span class="smcap">Savart, Félix.</span> “Mémoire sur la Construction des Instruments à<br> +Cordes et à Archet.” Paris, n.d. (1819). Roret. 8vo.<br> +<br> +<span class="smcap">Maugin, J. C.</span> “Manuel du Luthier.” Paris, 1834. Roret<br> +12mo.<br> +<br> +<span class="smcap">Maugin, J. C.</span>, et <span class="smcap">Maigne, W.</span> “Nouveau Manuel Complet du<br> +Luthier.” Paris, 1869. Roret.<br> +<br> +<span class="smcap">Desmarais, Cyprien.</span> “Archéologie du Violon.” Paris, 1836.<br> +Dentu et Sapia. Large 8vo pamphlet.<br> +</p> + +<p><span class="pagenum" id="Page_285">[Pg 285]</span></p> +<div class="blockquot"> + +<p><span class="smcap">Fourgeaud, Alexandre.</span> “Les Violons de Dalayrac.” Paris, 1856. +Leclerc. Large 8vo pamphlet.</p> + +<p>[<span class="smcap">Youssoupow, Prince.</span>] “Luthomonographie Historique et +Raisonnée.” Frankfort <span class="allsmcap">S/M.</span>, 1856. Ch. Fugel. Large 8vo.</p> + +<p><span class="smcap">Gallay, Jules.</span> “Les Instruments à Archet à l’Exposition +Universelle de 1867.” Juanst. 8vo.</p> + +<p><span class="smcap">Grivel, Victor.</span> “Vernis des Anciens Luthiers.” Grenoble, +1867. F. Allier. 8vo.</p> + +<p><span class="smcap">Gallay, Jules.</span> “Les Luthiers Italiens.” Nouvelle édition du +Parfait Luthier de l’Abbé Sibire. Paris, 1869. Académie des +Bibliophiles.</p> + +<p><span class="smcap">Plassiard, J. A.</span> “Des Cordes du Violon.” Lille, 1876. Danet.</p> + +<p><span class="smcap">Vidal, Antoine.</span> “Les Instruments à Archet, les Faiseurs, les +Joueurs d’Instruments, leur Histoire sur le Continent +Européen.” Suivi d’un Catalogue générale de la Musique +de Chambre. Orné de planches gravées à l’eau forte par +Frédéric Hillemacher. Paris, 1876: J. Claye. 3 vols. 4to. +Edition-de-luxe.</p> + +<p><span class="smcap">Coppée, François.</span> “Le Luthier de Cremone.” London, 1880. +Dulan & Co. 12mo.</p> + +<p><span class="smcap">Simoutre, N. E.</span> “Aux Amateurs du Violon.” Bâle, 1883. G. +A. Bonfantini.</p> +</div> + +<br> +<p class="center">GERMAN.</p> + +<p> +<span class="smcap">Reichardt, Johann Friedrich.</span> “Ueber die Pflichten des Ripien-Violinisten.”<br> +Berlin und Leipzig, 1776. G. J. Decker.<br> +<br> +<span class="smcap">Bagatella, Antonio.</span> “Ueber den Bau der Violine.” Leipzig,<br> +n.d. (1806). Kuhnel. 8vo.<br> +<br> +<span class="smcap">Wettengel, Gustav Adolph.</span> “Neuer Schauplatz der Künste<br> +und Handwerke.” Ilmenda, 1828. B. F. Voigt.<br> +<br> +<span class="smcap">Bachmann, Otto.</span> “Theoretisch-praktisches Handbuch des<br> +Geigenbaues.” Leipzig, 1835. G. Basse.<br> +<br> +<span class="smcap">Baader, J.</span> “Chronik des Marktes.” Mittenwald.<br> +<br> +<span class="smcap">Abele, Hyacinth.</span> “Die Violine.” Neuberg <span class="allsmcap">A/D.</span>, 1864. A.<br> +Zrechter. Small 8vo.<span class="pagenum" id="Page_286">[Pg 286]</span><br> +<br> +<span class="smcap">Schubert, F. L.</span> “Die Violine.” Leipzig, 1865. Merzeburger.<br> +<br> +<span class="smcap">Diehl, Nicolaus Louis.</span> “Die Geigenmacher der Alten<br> +Italienischen Schule.” Hamburg, 1866, 1877. J. F. Richter.<br> +<br> +<span class="smcap">Wettengel, Gustav Adolph.</span> “G. A. W.’s weil Violin-bogenmachers<br> +zu Markneukirchen.” Weimar, 1869. B. F.<br> +Voigt.<br> +<br> +<span class="smcap">Wasielewski, Joseph Wilhelm von.</span> “Die Violine im XVII.<br> +Jahrhundert.” Bonn, 1874. M. Cohen.<br> +<br> +<span class="smcap">Ritter, Hermann</span>. “Die Viola Alta.” Heidelberg, 1876. G.<br> +Weiss. 4to.<br> +<br> +<span class="smcap">Niederheitmann, Friedrich.</span> “Die Meister der Geigenbaukunst<br> +in Italien und Tyrol.” Hamburg, 1876. Aug. Cranz, 1876.<br> +<br> +—— Cremona. “Eine Charakteristik der Italienischen<br> +Geigenbauer.” Leipzig, 1877. Carl Merzeburger. 8vo.<br> +</p> +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> +<p><span class="pagenum" id="Page_287">[Pg 287]</span></p> + +<p class="center">DESCRIPTION OF PLATES</p> +<br> +</div> + +<br> +<p class="center">PLATE I (<cite>to face page 18</cite>)</p> + +<p>A Duiffoprugcar viol da Gamba, owned by Mr George Donaldson. +This matchless antique is doubtless one of many, but most of the rest +have perished; it stands almost alone as a poetic specimen of the +phantasy of the old viol makers. It is elaborately decorated on the +back, after the taste of the period, with an excess of ornament, which +the fine instinct of the subsequent makers of violins rejected as prejudicial +to tone. The habit of adopting a creature’s head, or a face, +for a scroll long lingered, and is not unknown in the work of Stradivarius. +In England numerous copies of Duke that have been palmed +off as original have lion heads. These instruments were usually +“made in Germany,” and it appears to have been a favourite practice +there to use such carved scrolls.</p> + +<br> +<p class="center">PLATE II (<cite>to face page 38</cite>)</p> + +<p>A Maggini violin (the “De Beriot”) owned by Mr Antonietti. +The Maggini here given is an admirably preserved specimen of the +great Brescian master, who, next to Stradiuarius, did more than any +one man to inspire and define the ideal shape, from which even the +Amati at first departed, but which Strad had the genius to restore +and perfect. The corners, however, have been rubbed, and not in +every case renewed, otherwise it is in as perfect a condition as can +be expected in so old a fiddle. The scroll is cut with a care and an +advanced finish which reminds us of the bolder Strad period, 1700-30. +Maggini, oddly enough, was little honoured in the first quarter of this +century, but De Beriot had the insight to discern his merits; and +from the time he adopted him for his masterly and full-toned performances, +the Magginis rose, and have been continuing to rise, in public +estimation.</p> + +<p><span class="pagenum" id="Page_288">[Pg 288]</span></p> + +<br> +<p class="center">PLATE III (<cite>to face page 50</cite>)</p> + +<p>Her late Majesty’s Amati tenor is in beautiful condition; it is +elaborately ornamented, in lieu of the usual purfling. It was, doubtless, +originally made to order for some great prelate; and it bears on +its back a noble coat of arms hardly decipherable, and the image of +John Baptist carrying a lamb (“Behold the Lamb of God!” John +i. 36). The instrument was used in Her late Majesty’s private band +by Mr Hann (1898). Like many old viols it has been somewhat +reduced in size. For the loan of this instrument I am indebted to +the good offices of Sir Walter Parratt, director of the late Queen’s +private band.</p> + +<br> +<p class="center">PLATE IV (<cite>to face page 58</cite>)</p> + +<p>Paganini’s Joseph Guarnerius. This is a fine and very characteristic +specimen of the mighty Del Gesù. It is in his most powerful +and massive style (the head almost brutal in its bull-dog strength), +with full rich colour thickly laid on to match. Seldom, indeed, do we +find so much varnish left on the back of so old a violin. The instrument +has been very carefully dealt with. The story of how it passed +into Paganini’s hands is well known. An Italian amateur, who evidently +knew its value, lent it to the great maestro, and, after hearing +its marvellous qualities, as drawn forth by the Magician of the Violin, +declared that no other hand should henceforth set its chords in +vibration. Paganini left it to his native town of Genoa, and there it +may still be seen in the Town Hall. It was his favourite instrument; +and the giant Joseph Guarnerius was well matched with the giant +Nicolo Paganini.</p> + +<br> +<p class="center">PLATE V (<cite>to face page 66</cite>)</p> + +<p>The Rode and Spanish violins and the Spanish tenor, it will be +observed, are all inlaid. Strad was no bigot, and although we may +confidently assert that he disapproved of all inlaying or decoration on +the bellies or backs, and confined it to its narrowest limits when +resorted to in lieu of the usual strip of purfling, he probably judged +that if it did not encroach upon the vibratory surfaces much beyond +a common purfle, it was comparatively harmless. It is likely that the +Rode Strad, whose history I am unable to record, was made for Royalty +or some great Prince Cardinal of the Church, the extra decoration +being considered due to the high rank of the patron, or wrought in +obedience to a special request. We have many evidences that Strad<span class="pagenum" id="Page_289">[Pg 289]</span> +was not above pleasing the individual whims of his clients. He +was himself an expert carver, and could inlay with the best of +them when he chose. The Rode Strad was sold to Messrs Hill by +M. Lamoureux, the eminent French conductor, and by them to +Dr Oldham of Brighton. The Strad ’cello is a good specimen of +Strad’s improved bass model. The size is brought down characteristically, +and the comparative smallness of the upper, contrasting +with the ample development of the lower part, gives the instrument +an appearance of lightness and grace; whilst the delicate +and somewhat narrow head, with its sufficiently massive and finely +cut out scroll, admirably balances the whole to the eye with a +certain “chic” quite <i lang="fr">a la Strad</i>.</p> + +<br> +<p class="center">PLATE VI (<cite>to face page 68</cite>)</p> + +<p>This plate contains profiles of the three Strads shown in Plate V., +and is interesting as displaying the variety exhibited in Strad’s +scroll carving. The Spanish Strad has quite an Amatisé scroll, +long, light, and very restrained, and undeveloped at the lower +extremity. Notice the greater freedom of the Rode scroll, quite in +Strad’s best manner. The Rode model is also flatter in the back, but +the bellies are all flat in the approved style, after the earlier Amati +groove had almost entirely disappeared from the Cremona model.</p> + +<br> +<p class="center">PLATE VII (<cite>to face page 82</cite>)</p> + +<p>A Panoramic View of Cremona, taken outside Porto Po from +the banks of the river, and engraved about 1830 by Caporali. +Names of buildings, counting from the right of the print: 1. Church +of S. Pietro; 2. Tower of the old prisons near the Town Hall; +3. Battisterio; 4. Cathedral; 5. Town Hall Tower; 6. Torrazzo, +the Cathedral Tower, the highest in Italy; 7. Church of S. +Marcellino; 8. Church of S. Domenico; 9. Church of S. Agostino; +10. Church of S. Lucca; 11. Church of S. Omobono, patron of the +town; 12. Church of S. Agata; 13. Church of S. Ilario; 14. +Church of S. Luca. Signor Sacchi, a native of Cremona, has +kindly identified all the above for me.</p> + +<br> +<p class="center">PLATES VIII <span class="allsmcap">AND</span> IX (<cite>to face pages 106, 110</cite>)</p> + +<p>These portraits of Tourte, Lupot, Vuillaume, and Ebsworth Hill +being fully dwelt on in the text, need no further comment.</p> + +<p><span class="pagenum" id="Page_290">[Pg 290]</span></p> + +<br> +<p class="center">PLATE X (<cite>to face page 162</cite>)</p> + +<p>This plate of backs, bellies, and bows, has been fully explained +in the text.</p> + +<br> +<p class="center">PLATE XI (<cite>to face page 182</cite>)</p> + +<p>Portraits of Paganini abound. Landseer sketched a series, +which, however, are slightly of the nature of caricatures. It was +difficult to do otherwise. The Maestro’s features were so marked, +his long hair so weird, the tall forehead, the wide sensitive mouth, +the dark eyes, the ungainly and gaunt, almost dislocated attitudes +of the man lent themselves freely to a lively and not always +sympathetic or respectful pencil. The portrait, a rare one, here +produced, hits the happy mean. The finest representation of him +is, however, Danton’s small bust (admirably reproduced by Mrs +Haweis’ pencil in “My Musical Life,” where see my biographical +study of Paganini).</p> + +<br> +<p class="center">PLATE XII (<cite>to face page 238</cite>)</p> + +<p>For a fuller list of labels, the “Collector” had better consult +Mr Vidal’s most valuable book referred to in our Bibliography, +from which our seven specimens are reproduced. I may observe +that a forged fiddle may often have what purports to be a genuine +label. A reference, therefore, to these facsimiles may be useful.</p> + +<p>Buyers should also beware of labels bearing dates <em>posterior</em> to +the death of the alleged makers. I have seen Stainer’s so +decorated. Stainer labels in two different sorts of type, <i lang="la">i.e.</i>, the +name in a running type and the rest in print, are never genuine. +Duke copies of Stainer, often very good ones, sometimes present +this peculiarity. Notice that Gasparo and Gio Paolo Maggini never +<em>dated</em> their instruments. There exist numerous dated copies of +Maggini—generally recent copies—De Beriot having brought the +great Gio into notice. These are all frauds.</p> + +<p>Stradiuarius changed his labels late in life, using a <i lang="la">v</i> instead of <em>u</em>, +and spelling Stradivari or Stradivarius. This is called the cursive <i lang="la">v</i>. +Some Stradivarius-labelled violins have all the figures of the date +<em>printed</em>, <i lang="la">e.g.</i>, 1712. These are forgeries. The last two figures in +the real labels being always filled up in ink, which has much faded. It +does not, however, follow that all thus filled in are genuine—indeed, +most are frauds. A particularly favourite date for forged Stradivari +labels is 1721.</p> +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> +<p><span class="pagenum" id="Page_291">[Pg 291]</span></p> + +<h2 class="nobreak" id="INDEX">INDEX</h2> +</div> + + +<ul class="index"> +<li class="ifrst">Albani, <a href="#Page_102">102</a></li> + +<li class="indx">Aldric, Paris dealer, <a href="#Page_174">174</a></li> + +<li class="indx">Aireton, <a href="#Page_124">124</a></li> + +<li class="indx">Amateurs, their opinions, <a href="#Page_225">225</a></li> + +<li class="indx">Amati, the, <a href="#Page_43">43</a>, <a href="#Page_44">44</a>, <a href="#Page_47">47</a></li> + +<li class="indx">Americans, their wood, <a href="#Page_233">233</a></li> + +<li class="indx">Artôt’s Strad, <a href="#Page_75">75</a></li> + + +<li class="ifrst">Balzar, great violinist, <a href="#Page_122">122</a></li> + +<li class="indx">Band, Charles II.’s, <a href="#Page_121">121</a></li> + +<li class="indx">Banks, English maker, <a href="#Page_130">130</a></li> + +<li class="indx">Barak Norman, English maker, <a href="#Page_125">125</a></li> + +<li class="indx">Bernadel, French maker, <a href="#Page_109">109</a>, <a href="#Page_189">189</a></li> + +<li class="indx">Betts, English maker, <a href="#Page_133">133</a></li> + +<li class="indx">Bisexual violin nature, <a href="#Page_22">22</a></li> + +<li class="indx">Boquay, French maker, <a href="#Page_105">105</a></li> + +<li class="indx">Bows, <cite>see</cite> Chap. XI.</li> + +<li class="indx">Buying fiddles, <a href="#Page_235">235</a></li> + + +<li class="ifrst">Carlo Bergonzi, <a href="#Page_83">83</a>;</li> +<li class="isub1">supremacy, <a href="#Page_230">230</a>;</li> +<li class="isub1">gems, <a href="#Page_173">173</a>;</li> +<li class="isub1">influence, <a href="#Page_94">94</a></li> + +<li class="indx">Charles II.’s court, influence on music, <a href="#Page_121">121</a></li> + +<li class="indx">Charles Reade, <a href="#Page_180">180</a>, <a href="#Page_217">217</a></li> + +<li class="indx">Children, their fiddles, <a href="#Page_68">68</a></li> + +<li class="indx">Collecting mania, <a href="#Page_12">12</a></li> + +<li class="indx">Completeness of violin, <a href="#Page_7">7</a></li> + +<li class="indx">Control of violin, <a href="#Page_9">9</a></li> + +<li class="indx">Convalescent fiddles, <a href="#Page_200">200</a></li> + +<li class="indx">Cracked fiddles, <a href="#Page_198">198</a></li> + +<li class="indx">Cremona city, <a href="#Page_42">42</a></li> + +<li class="indx">Cremona gems, discovery of, <a href="#Page_173">173</a></li> + +<li class="indx">Cremona influence, <a href="#Page_94">94</a></li> + +<li class="indx">Cross, English maker, <a href="#Page_125">125</a></li> + + +<li class="ifrst">Dealers, <cite>see</cite> Chap. XV.</li> + +<li class="indx">Dodd, bow-maker, <a href="#Page_133">133</a>, <a href="#Page_166">166</a></li> + +<li class="indx">“Dolphin,” a celebrated Strad, <a href="#Page_74">74</a></li> + +<li class="indx">Duiffoprugcar, old maker, <a href="#Page_12">12</a>;</li> +<li class="isub1">his viol da Gamba, <a href="#Page_19">19</a></li> + +<li class="indx">Duke, English maker, <a href="#Page_132">132</a></li> + + +<li class="ifrst">Elector fiddles by Stainer, <a href="#Page_97">97</a></li> + +<li class="indx">English makers, <cite>see</cite> Chap. VIII.</li> + + +<li class="ifrst">“False” strings, <a href="#Page_156">156</a></li> + +<li class="indx">Fendt, Bernard, <a href="#Page_132">132</a></li> + +<li class="indx">Fiddles and umbrellas, <a href="#Page_214">214</a></li> + +<li class="indx">Fiddle flukes, <a href="#Page_220">220</a></li> + +<li class="indx">Fiddle frauds, <a href="#Page_223">223</a></li> + +<li class="indx">Fiddle judges, <a href="#Page_224">224</a></li> + +<li class="indx">Fiddles, new and old, secret of, <a href="#Page_227">227</a>, <a href="#Page_233">233</a></li> + +<li class="indx">Fingerboard, <a href="#Page_207">207</a></li> + +<li class="indx">“Finish” of old makers, <a href="#Page_26">26</a></li> + +<li class="indx">Foster, the family of, <a href="#Page_126">126-127</a>, &c.</li> + +<li class="indx">France, violins in, <cite>see</cite> Chap. VII.</li> + +<li class="indx">François Tourte, bow-maker, <a href="#Page_164">164</a></li> + + +<li class="ifrst">Gagliano, <a href="#Page_89">89</a></li> + +<li class="indx">Gand, French maker, <a href="#Page_109">109</a>, <a href="#Page_189">189</a></li> + +<li class="indx">Gasparo da Salo, <a href="#Page_30">30</a></li> + +<li class="indx">Genesis of violin, <cite>see</cite> Chap. I.</li> + +<li class="indx">German strings, <a href="#Page_158">158</a></li> + +<li class="indx">Germany, fiddle-makers, <cite>see</cite> Chap. VI.</li> + +<li class="indx">Geronimo Amati, <a href="#Page_44">44</a></li> + +<li class="indx">Gillott’s Mr, collection, <a href="#Page_217">217</a></li> + +<li class="indx"><span class="pagenum" id="Page_292">[Pg 292]</span>Giuseppe or Joseph Guarnerius, <a href="#Page_53">53</a></li> + +<li class="indx">Goding’s, Mr, collection, <a href="#Page_178">178</a></li> + +<li class="indx">Golden Strad period, <a href="#Page_73">73</a></li> + +<li class="indx">Guadagnini, <a href="#Page_86">86</a></li> + +<li class="indx">Guarneri family, <a href="#Page_51">51</a></li> + +<li class="indx">Guild of Markneukirchen, <a href="#Page_194">194-197</a>.</li> + + +<li class="ifrst">Hart, John, dealer, <a href="#Page_180">180</a></li> + +<li class="indx">Hill, William Ebsworth, <a href="#Page_133">133</a></li> + +<li class="indx">Holmes, Oliver Wendell, <a href="#Page_226">226</a></li> + +<li class="indx">Horses, fiddles and umbrellas, <a href="#Page_214">214</a></li> + + +<li class="ifrst">Ignorance and neglect, <a href="#Page_215">215</a></li> + + +<li class="ifrst">Jaques, French maker, <a href="#Page_105">105</a></li> + +<li class="indx">Jay, English maker, <a href="#Page_124">124</a></li> + +<li class="indx">Jean and Nicolas Medard, <a href="#Page_187">187</a></li> + +<li class="indx">Joseph or Giuseppe Guarnerius, <a href="#Page_53">53</a></li> + + +<li class="ifrst">Kennedys, the English, 1872 and 1885, <a href="#Page_218">218</a>;</li> +<li class="isub1">makers, <a href="#Page_124">124</a></li> + +<li class="indx">Klotz family, <a href="#Page_101">101</a>, <a href="#Page_191">191</a></li> + + +<li class="ifrst">Landolpho, Italian, <a href="#Page_216">216</a></li> + +<li class="indx">Lott, John, English, <a href="#Page_219">219</a></li> + +<li class="indx">Luigi Tarisio, rediscoverer of Cremonas, <a href="#Page_179">179</a>, <a href="#Page_181">181</a>;</li> +<li class="isub1"><cite>see</cite> Chap. XIV.</li> + +<li class="indx">Lupôt, French maker, <a href="#Page_106">106</a>, <a href="#Page_168">168-188</a></li> + + +<li class="ifrst">Maggini, early Brescian maker, <a href="#Page_32">32-40</a></li> + +<li class="indx">Mantegazza, Venetian maker, <a href="#Page_90">90</a></li> + +<li class="indx">Manufacture of strings process, <a href="#Page_155">155</a></li> + +<li class="indx">Markneukirchen, early home of violin manufacture, <a href="#Page_186">186</a>, <a href="#Page_193">193</a></li> + +<li class="indx">“Master” Reiter, Mittenwald maker, <a href="#Page_192">192</a></li> + +<li class="indx">Maucotel, French, <a href="#Page_188">188</a></li> + +<li class="indx">Medard, early Tyrol maker, <a href="#Page_187">187</a>;</li> +<li class="isub1"><cite>see</cite> Chap. XIII.</li> + +<li class="indx">Menegand, French, <a href="#Page_188">188</a></li> + +<li class="indx">“Messie,” a great Strad violin, <a href="#Page_77">77</a></li> + +<li class="indx">Mirecourt, early home of violin manufacture, <a href="#Page_189">189</a></li> + +<li class="indx">Mittenwald violin manufacture, <a href="#Page_186">186</a></li> + +<li class="indx">Montagnana, Venetian maker, <a href="#Page_87">87</a></li> + +<li class="indx">Mutes or sordini to deaden sounds, <a href="#Page_159">159</a></li> + + +<li class="ifrst">Neglect of English makers, <a href="#Page_118">118</a></li> + +<li class="indx">Neglect of violins, <a href="#Page_215">215</a></li> + +<li class="indx">New fiddles, <a href="#Page_227">227</a>, <a href="#Page_233">233</a></li> + +<li class="indx">Nicolas Lupôt, <cite>see</cite> Lupôt.</li> + +<li class="indx">Nicolo Amati, the best of the family, <a href="#Page_47">47</a></li> + +<li class="indx">Norman, <cite>see</cite> Barak Norman.</li> + + +<li class="ifrst">Oliver Wendell Holmes, a letter, <a href="#Page_226">226</a></li> + +<li class="indx">Ouri, the violinist, <a href="#Page_170">170</a></li> + +<li class="indx">Over-restoration, <a href="#Page_203">203</a></li> + + +<li class="ifrst">Paduan strings, <a href="#Page_158">158</a></li> + +<li class="indx">Paganini, <a href="#Page_9">9-56</a>, <a href="#Page_182">182</a></li> + +<li class="indx">Pamphilon, English maker, <a href="#Page_124">124</a></li> + +<li class="indx">Panormo, maker of guitars and fiddles, <a href="#Page_124">124</a></li> + +<li class="indx">Paris, Vuillaume and Tarisio at, <a href="#Page_176">176-178</a></li> + +<li class="indx">Parker, English maker, <a href="#Page_124">124</a></li> + +<li class="indx">Peccate, Italian maker, <a href="#Page_169">169</a></li> + +<li class="indx">Pernambuco wood for bows, <a href="#Page_161">161</a></li> + +<li class="indx">Personal fascination in violin-playing, secret of it, <a href="#Page_11">11</a></li> + +<li class="indx">Pieray, <a href="#Page_105">105</a></li> + +<li class="indx">Pique, French maker, <a href="#Page_108">108</a></li> + +<li class="indx">Prelude and postlude, <a href="#Page_7">7</a>, <a href="#Page_237">237</a></li> + +<li class="indx">“Pucelle,” a celebrated Strad, <a href="#Page_78">78</a></li> + + +<li class="ifrst">Reade, <cite>see</cite> Charles Reade.</li> + +<li class="indx">Reiter, <cite>see</cite> “Master.”</li> + +<li class="indx">Remenyi, violinist, <a href="#Page_170">170</a>, <a href="#Page_224">224</a></li> + +<li class="indx">Restoration, <a href="#Page_203">203</a></li> + +<li class="indx">Revarder, Mirecourt maker, <a href="#Page_188">188</a></li> + +<li class="indx">Rosin, treatment and use of, <a href="#Page_202">202</a></li> + +<li class="indx">Rugerius, Italian maker, <a href="#Page_50">50</a></li> + + +<li class="ifrst">Salo, early violin centre, <a href="#Page_30">30</a></li> + +<li class="indx">Savart’s experiments, <a href="#Page_25">25</a></li> + +<li class="indx">Scale of prices, <a href="#Page_236">236</a></li> + +<li class="indx"><span class="pagenum" id="Page_293">[Pg 293]</span>Secret or old violins, <a href="#Page_228">228</a></li> + +<li class="indx">Sound qualities of old and new violins, <a href="#Page_227">227</a></li> + +<li class="indx">South Kensington Collections, <cite>see</cite> Kensington.</li> + +<li class="indx">Stainer, <cite>see</cite> Chap. VI.</li> + +<li class="indx">Stainer, Miss, “Violin Manual,” <a href="#Page_189">189</a></li> + +<li class="indx">Stradivarius, <cite>see</cite> Chap. V.</li> + +<li class="indx">Strange finds, <a href="#Page_77">77</a></li> + +<li class="indx">String gauge, <a href="#Page_154">154</a></li> + +<li class="indx">Strings, violin, <cite>see</cite> Chap. X.</li> + +<li class="indx">Story of the Markneukirchen Guild, <a href="#Page_194">194-197</a></li> + +<li class="indx">Subdivision of labour a cause of decline, <a href="#Page_231">231</a></li> + + +<li class="ifrst">Tarisio, <cite>see</cite> Luigi, <a href="#Page_179">179</a>, and Chap. XIV.</li> + +<li class="indx">Techler, German school, <a href="#Page_102">102</a></li> + +<li class="indx">Thibouville-Lamy, French maker, <a href="#Page_189">189</a></li> + +<li class="indx">Tourte, bow-maker, <a href="#Page_164">164</a></li> + +<li class="indx">Treatment of violin, <cite>see</cite> Chap. XIV.</li> + +<li class="indx">Tubbs, bow-maker, <a href="#Page_169">169</a></li> + +<li class="indx">“Tuscan,” the celebrated Strad, <a href="#Page_69">69</a></li> + + +<li class="ifrst">Urquhart, English maker, <a href="#Page_124">124</a></li> + + +<li class="ifrst">Varnish, <cite>see</cite> Chap. IX.</li> + +<li class="indx">Violin constitution, <cite>see</cite> Chap. II.</li> + +<li class="indx">Violin dealing and collecting, <cite>see</cite> Chap. XV.</li> + +<li class="indx">Violin progress, <cite>see</cite> Chap. I.</li> + +<li class="indx">Violin rise, <cite>see</cite> Chap. I.</li> + +<li class="indx">Violin treatment, <cite>see</cite> Chap. XIV.</li> + +<li class="indx">Viols, <cite>see</cite> Chap. I.;</li> +<li class="isub1">English, <a href="#Page_119">119</a></li> + +<li class="indx">Vision of Stradivari, <a href="#Page_79">79</a></li> + +<li class="indx">Vuillaume, <a href="#Page_110">110</a>, <a href="#Page_168">168</a></li> + + +<li class="ifrst">Walmesley, English maker, <a href="#Page_125">125</a></li> +</ul> + + +<p>PRINTED BY OLIVER AND BOYD, EDINBURGH</p> +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> +<p><span class="pagenum" id="Page_294">[Pg 294]</span></p> + +<p class="center"><cite>Uniform with this Volume</cite></p> +</div> + +<h2 class="nobreak" id="Fine_Prints">Fine Prints</h2> + +<p class="center">By Frederick Wedmore</p><br> + +With 12 Plates. 7s. 6d. net<br> + +<br> +Illustrations by Examples after Mantegna, Marc Antonio, Schöngauer,<br> +Dürer, Beham, Lucas van Leyden, Rembrandt, Watteau,<br> +Chardin, Reynolds, and Turner.<br> +<hr class="r5"> + +<p><span class="smcap">Contents</span>: Introduction—The Task of the Collector—Claude, +Vandyke, Ostade, Hollar—Rembrandt (Illustrations)—French +Revival of Etching (Illustrations)—Whistler and Haden—Later +English Etchers—Dürer: The “Little Masters” (Illustrations)—Italian +Line Engravers (Illustrations)—French Eighteenth Century +Prints (Illustrations)—Turner Prints (Illustrations)—Mezzotints +(Illustrations)—Lithographs—Appendix: Certain Woodcuts—Postscript—Bibliography—Index.</p> + +<div class="blockquot"> + +<p>“The ‘collector of moderate means,’ for whose special behoof the +volumes of the Collector Series are designed, will take pleasure and find +profit in the admirable guide to Fine Prints which Mr Frederick Wedmore +has written for Mr Redway. It maps out the ground for him +who would go forth on the delightful quest of rare and beautiful +etchings, line engravings, and mezzotints; and at every turn it gives +him valuable hints and directions.”—<cite>Scotsman.</cite></p> + +<p>“It gives a bird’s-eye view of a large and important subject for the +benefit of the man of taste. Mr Wedmore is a well-known art critic, and +altogether a competent hand for the undertaking. He discusses the +work of the masters of engraving, ancient and modern, including even +the great lithographers.... A capital index completes a model +volume of its kind. The work contains many beautiful reproductions +from the best engravings of some of the best men, rendered with +admirable fidelity in the different styles of line, mezzotint, and etching.”—<cite>Daily +News.</cite></p> + +<p><cite>The Magazine of Art</cite> says:—“Mr Wedmore is one of the few professional +writers in England with a truly refined and appreciative +knowledge of prints—possessing that more eclectic sense proper for the +cult. As a guide he may be confidently commended to the reader, who +will not fail to admire the delicacy and tact with which Mr Wedmore +handles the necessarily commercial side of the subject. He deals +adequately with the great Dutch and French periods of etching, the +recent revival of that art in England, our great period of mezzotint, and +line engraving in Italy, as well as the prints of Turner, lithographs of +the present day, and famous woodcuts of the past.”</p> +</div> +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> +<p><span class="pagenum" id="Page_295">[Pg 295]</span></p> + +<p class="center"><cite>Uniform with this Volume</cite></p> +</div> + +<h2 class="nobreak" id="The_Coin_Collector">The Coin Collector</h2> + +<p class="center">By W. Carew Hazlitt + +<cite>New and Revised Edition</cite> + +Illustrated with 12 full-page Plates depicting 129 Rare Pieces<br> +<br> +<cite>Pub. 7s. 6d. net</cite></p> +<br> +<hr class="r5"> + +<p class="center">CONTENTS</p> + +<p>Introductory—Collectors and Collections—Value of Coins—Unique +or Remarkable Coins—Greek Coins—Rome—Continent of +Europe—United Kingdom—The Coin Market—Terminology—Bibliography—Description +of Plates—Index.</p> + +<div class="blockquot"> + +<p>“Mr Hazlitt is an expert in regard to coins; his book from the +practical standpoint is trustworthy.”—<cite>Notes and Queries.</cite></p> + +<p>“We may say at once that we have a very interesting and instructive +volume before us. The subject is, of course, only lightly touched upon, +and no attempt at dealing with any section of it in detail is made. This +is as it should be in a book on coins in general.”—<cite>Antiquary.</cite></p> + +<p>“Perhaps as excellent an introduction to the study of a delightful +pursuit as could have been written.”—<cite>Daily Telegraph.</cite></p> + +<p>“Abreast of the latest discoveries and theories, and is sure of a +welcome from the general reader as well as from the collector.”—<cite>Scotsman.</cite></p> + +<p>“This admirable volume gives a bird’s-eye view of the whole. It is +clear that Mr Hazlitt is not only an enthusiast in the subject of his +book, but also a student whose knowledge is at once singularly wide +and remarkably accurate.”—<cite>Publishers’ Circular.</cite></p> +</div> +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"> +<p><span class="pagenum" id="Page_296">[Pg 296]</span></p> + +<h2 class="nobreak" id="The_Book_Collector">The Book Collector</h2> +</div> + +<p class="center">By W. Carew Hazlitt</p> + +<div class="blockquot"> + +<p>A General Survey of the Pursuit, and of those who have engaged +in it, from the Earliest Period to the Present Time; with +an Account of Public and Private Libraries, and Anecdotes +of their Founders or Owners, and Remarks on Bookbinding +and on Special Copies of Books, illustrated with a beautiful +photogravure of a famous sale of books at Sotheby’s, square +cr 8vo, art canvas, gilt top, fore and under edges uncut</p> +</div> + +<p class="center"><cite>Pub. 7s. 6d. net</cite></p> +<hr class="r5"> + +<p>“As Mr Hazlitt shows, his field of choice is wide enough. Ancient +typography fascinates some, but here a long purse is needed. Bibles +and Testaments, Liturgies, Books of Hours, or similar devotional works +appeal to others. The British Museum Library, for instance, is singularly +rich in editions in all languages of the ‘Imitatio Christi.’ Books +of travel, of voyages, and on topography, such as county and town +histories, have all their devotees, and of late years the search for Alpine +literature has become so much keener that some books, printed barely +forty years ago, have quite doubled their published price. Yet even the +systematic collector, as Mr Hazlitt tells us, often runs risks. Here, as +among all things human, fashions and whims exist, and a particular +class of literature may have ‘booms’ and ‘slumps,’ like certain ‘stocks’ +of a questionable character. The books, for instance, in William +Morris’s library were ‘below mediocrity in state,’ and of little intrinsic +value, yet they excited keen competition, and went for sums ‘which +were simply absurd.’”—<cite>Standard.</cite></p> + +<p>“The subject abounds with stories, for, indeed, in a sense which the +author of the aphorism little imagined, <i lang="it">habent sua fata libelli</i>. We might +fill columns with curiosities about the buying and selling of books from +these pages. Mr Hazlitt, however, is not of the non-literary collectors; +no man could write such a book as this about the subject if he were. +Readers, therefore, as well as buyers, may find ‘The Book Collector’ +to their taste. Then there is the eleventh chapter, with its many +interesting anecdotes of inscriptions; often the casual name or note +which some purchaser or owner of a bye-gone time has written will be +of more interest than the volume itself.”—<cite>Spectator.</cite></p> + +<p>“There is pleasure nevertheless—nay, much intellectual and sometimes +pecuniary profit—in the pursuit, when intelligently pursued. Mr +Hazlitt discourses pleasantly on every side of book-collecting, and his +book will be valued by all interested in the subject.”—<cite>Chambers’ +Journal.</cite></p> + + +<div class="footnotes"><h3>FOOTNOTES:</h3> + +<div class="footnote"> + +<p><a id="Footnote_1" href="#FNanchor_1" class="label">[1]</a> An unique set of instruments by the Amati family worthy of +mention is the quintett, composed of three violins, a viola, and a +violoncello, now (1898) in the possession of Miss Willmott.</p> + +</div> + +<div class="footnote"> + +<p><a id="Footnote_2" href="#FNanchor_2" class="label">[2]</a> This Fent is no relation, as far as is known, to the family working +in England, whose name is spelt Fendt.</p> + +</div> + +<div class="footnote"> + +<p><a id="Footnote_3" href="#FNanchor_3" class="label">[3]</a> A popular comedy (1898).</p> + +</div> +</div> + +<hr class="chap x-ebookmaker-drop"> + +<div class="chapter"></div> +<p class="transnote"> + +<span style="margin-left: 1em;">TRANSCRIBER’S NOTE</span><br> +<br> +<span style="margin-left: 1em;">Obvious typographical errors and punctuation errors have been</span><br> +<span style="margin-left: 1em;">corrected after careful comparison with other occurrences within</span><br> +<span style="margin-left: 1em;">the text and consultation of external sources.</span><br> +<br> +<span style="margin-left: 1em;">Some hyphens in words have been silently removed, some added,</span><br> +<span style="margin-left: 1em;">when a predominant preference was found in the original book.</span><br> +<br> +<span style="margin-left: 1em;">Except for those changes noted below, all misspellings in the text,</span><br> +<span style="margin-left: 1em;">and inconsistent or archaic usage, have been retained.</span><br> +<br> +<span class="pad05"><a href="#tn_61">p61</a>-> ‘the boy Giuseppe Gaurneri’ amended to ‘the boy Giuseppe Guarneri’</span><br> +<span class="pad05"><a href="#tn_105">p105</a>-> ‘Jaques Boquay’ amended to ‘Jacques Boquay’</span><br> +<span class="pad05"><a href="#tn_278">p278</a>-> ‘he branded’ amended to ‘He branded’</span><br> +</p> +<div style='text-align:center'>*** END OF THE PROJECT GUTENBERG EBOOK 78831 ***</div> +</body> +</html> diff --git a/78831-h/images/cover.jpg b/78831-h/images/cover.jpg Binary files differnew file mode 100644 index 0000000..e94667b --- /dev/null +++ b/78831-h/images/cover.jpg diff --git a/78831-h/images/i_003.jpg b/78831-h/images/i_003.jpg Binary files differnew file mode 100644 index 0000000..a037537 --- /dev/null +++ b/78831-h/images/i_003.jpg diff --git a/78831-h/images/i_018a.jpg b/78831-h/images/i_018a.jpg Binary files differnew file mode 100644 index 0000000..6d33190 --- /dev/null +++ b/78831-h/images/i_018a.jpg diff --git a/78831-h/images/i_038a.jpg b/78831-h/images/i_038a.jpg Binary files differnew file mode 100644 index 0000000..4ab7c0d --- /dev/null +++ b/78831-h/images/i_038a.jpg diff --git a/78831-h/images/i_050a.jpg b/78831-h/images/i_050a.jpg Binary 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STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. 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..16e8cf3 --- /dev/null +++ b/README.md @@ -0,0 +1 @@ +[Project Gutenberg](https://www.gutenberg.org) public repository for eBook [#78831](https://www.gutenberg.org/ebooks/78831) |
