LIBRARY 
 

 THE VIOLI 
 
 ITS FAMOUS MAKERS AND THEIR 
 IMITATORS. 
 
 GEORGE HART. 
 
 
 SEVERAL WOOD ENGRAVINGS FROM PHOTOGRAPHS OF 
 
 THE WORKS OF STRADIUARIUS, GUARNERIUS 
 
 A MATT, AND OTHERS. 
 
 " To perfect that wonder of travel the locomotive has perhaps not required 
 the expenditure of more mental strength and application, than to perfect that 
 wonder of music the Violin." W. E. GLADSTONR. 
 
HOUSE OF STRADIUAKIUS, WEST SIDE, PIAZZA ROMA, CREMONA. 
 
CONTENTS. 
 
 SECTION I. The Early History of the Violin .-. i 3 
 
 SECTION II. The Construction of the Violin 4 10 
 
 SECTION III Italian and other Strings n 14 
 
 SECTION IV. The Italian School., 15 20 
 
 SECTION V. The Italian Varnish 21 24 
 
 SECTION VI. Italian Makers 25 71 
 
 SECTION VII. The French School 72 74 
 
 SECTION VIII. French Makers 75 82 
 
 SECTION IX. The English School 83 87 
 
 SECTION X. English Makers 88 105 
 
 SECTION XI. The German School 106107 
 
 SECTION XII. German and Dutch Makers 108 115 
 
 SECTION XIII. The Violin and its Votaries 116132 
 
 SECTION XIV. Sketch of the Progress of the Violin. 133 148 
 SECTION XV. Anecdotes and Miscellanea connected 
 
 with the Violin 149178 
 
1,1 1ST ()K ILLUSTRATIONS. 
 
 FKHVI ISIMKC -K An ton ins Stra dinar ins' Hoi is.-. 
 
 PLATB 
 
 1 Gaspanl di Salo Violin '9 
 
 2 Giovanni Paolo Maggini Violin 38 
 
 3 Antonius and Heironyinus Amati 57 
 
 g 
 
 4 Nicholas Amati 73 
 
 5 Antonius Stradiuaritis 95 
 
 6 Joseph Guarnerius del Jesu "7 
 
 7 Carlo liergonzi '33 
 
 8 Scrolls I.Joseph Guarnerius; a.Stradiuarius 1686 ; 3, Nicholas 
 
 Amati ; 4, Stracliuarius 17 >; I5 1 
 
DEDICATION 
 
 To ORIGINAL EDITION, 
 
 Inscribed to the Admirers of the Leading Instrument 
 at Home and Abroad. 
 
 MY FRIENDS : 
 
 For some time I have been in a state of doubt as to which 
 course to pursue whether to follow the usual custom, and 
 address the reader in a Preface, or to combine my prefatory 
 remarks with a Dedication. It will be seen that I have chosen 
 the latter method. I am aware that inscriptions in connection 
 with books are no longer in vogue ; the -necessity for them 
 has happily long since passed away. In these free press days, 
 though the writer of a book be the most obscure individual in 
 the paths of literature, yet his pages will not lack readers, 
 always providing they are worth perusal. Though it may 
 appear that I am falling back upon an old custom in inscribing 
 to you the results of my leisure hours, I do so simply because 
 the subject is one which interests but a section of society in this 
 instance, and that section is yourselves. 
 
 In placing these pages before you, I must admit that I feel 
 some little anxiety as to the reception awaiting them. I have 
 lived in the atmosphere of Fiddles all my days, and have, 
 perhaps, possessed peculiar advantages for learning much 
 about them ; but whether I have succeeded in conveying to the 
 reader information at once new and interesting remains to be 
 seen. The task was undertaken by me at the suggestion of 
 several friends, who felt that there was room for a more detailed 
 work on the subject than as yet existed, and thus induced me 
 to take the pen in hand. Upon your verdict wholly depends 
 the issue whether I shall have reason to feel indebted to my 
 friends for their counsel or not. 
 
 And now a word or two with regard to the contents of the 
 book. For years I have been impressed with the idea that a 
 work of this kind, illustrated with specimens of the produc- 
 tions of the chief Cremonese makers, would be received with 
 delight by connoisseurs. To know how to carry out this idea 
 with any degree of success was a problem I was long unable to 
 
iv DEDICA TION 
 
 solve. Not to trouble you with the various processes which I 
 brought to bear on the subject, I may say that it was at length 
 suggested to me that a combination of photography and wood 
 engraving would ensure the double requisites of correctness 
 and durability. By this process all the points in the outline of 
 the work could not fail to be in accordance with the original. 
 As many of the instruments were photographed at different 
 times and places, an uniform scale has not been attempted, 
 indeed, the small size of the engravings would preclude the 
 possibility of its adoption forming any safe guide in the matter, 
 the calculation being too minute. In the selection of specimens 
 I have taken those instruments that I deemed would show the 
 various styles to the best advantage ; it must be borne in mind, 
 therefore, that they are intended to represent the character of 
 each artist's works, and not to form a catalogue of remarkable 
 instruments, to engrave all of which would be wholly foreign 
 to the purpose of my undertaking. 
 
 I feel sure that the Frontispiece will be received with delight 
 by all connoisseurs. In obtaining permission to photograph 
 Paganini's famous Violin, I met with no slight obstacles, but 
 my efforts were at length happily successful. M. Vieuxtemps 
 states that the last time the instrument was removed from the 
 glass-case in which it had rested so many years was upon the 
 occasion of a concert given in aid of the charities of Genoa, 
 when Signor Sivori was permitted to play upon the treasured 
 Violin. Up to that time there was a ribbon around the instru- 
 ment, which was secured at the back with the Corporation Seal 
 a very ill-advised mode, it must be confessed, of attaching 
 the insignia of authority. To permit Signor Sivori to use the 
 Violin, the seal and ribbon necessarily had to be removed, and 
 in the performance of this delicate operation the seal carried 
 away with it the lustrous varnish of Joseph Guarnerius. The 
 mark where the wax adhered is distinctly seen in the engraving 
 of the back of the Violin given herewith. The Corporate Seal 
 is now very properly attached to the scroll, from which it hangs 
 by a ribbon. 
 
 Before closing my remarks on the illustrations, I must 
 mention that I am much indebted to the able assistance I have 
 received from Mr. Petherick, who has superintended that por- 
 tion of the work. A lover of the Old Masters, he exerted 
 himself to carry out my views with a zest rare to parallel. 
 
 In giving a Sketch of the Progress of the Violin, I have 
 endeavored to touch lightly on the most interesting points 
 relating thereto. To have omitted mention of this branch of 
 the subject would, I felt, have rendered my task incomplete. 
 
 The anecdotal portion will, I hope, be found to contain 
 much that is interesting. The anecdotes relating to my own 
 vacation, I hnve endeavored to set forth with as much advan- 
 tage as my power of narrative would permit ; and those which I 
 
DEDICATION. v 
 
 have selected from various sources have been such as I deemed 
 congenial to the subject, and least likely to be generally 
 known. 
 
 Having rendered you some account of my task, it now 
 only remains for me to subscribe myself, 
 
 Yours faithfully, 
 
 THE AUTHOR. 
 
 /./, Prince;; Street, 
 
 Leicester Square, W. 
 
THB VIOLIN. 
 
 Famous IVtak;ers and l^tieir Imitators. 
 
 SECTION I. 
 THE EARLY HISTORY OF THE VIOLIN. 
 
 YT7HE early history of the Violin appears to be enveloped in 
 <3 I la darkness, and, in consequence, the usual diversity of 
 opinion exists on the subject. The chief object of the 
 writer of these pages is to throw light on the instrument in its 
 perfected state, and more particularly on the masters known 
 and appreciated. The origin, therefore, of the Violin requires 
 but passing notice here. The subject has been most ably 
 treated by M. Fetis, M. de Cou^semaker, and Sandy and Forster 
 conjointly, to whose interesting works the reader is referred 
 if desirous of extending his knowledge in that direction. 
 
 Leaving the Cytnara, Lyre, and Lute, together with the 
 various offshoots of those instruments, in the keeping of the 
 antiquarians, we will endeavor to start from the period when 
 that important feature, the ow, was introduced. 
 
 The people of antiquity do not appear to have had any 
 knowledge of instruments played with a bow ; and it is satis- 
 factory to know that upon this point writers on the subject 
 of the early hUtory of the Violin seem agreed, though at 
 variance upon other matters of equal importance. The statue 
 of Orpheus holding a lyre in one hand and a bow in the other 
 has been cited as a proof that the ancients were acquainted 
 with the bow ; but upon closer inquiry it will be found that this 
 delineation is wholly insufficient evidence to prove the existence 
 of bow instruments among the people of antiqui'y. The fact 
 that the development in question is attributed to the restorer of 
 the statue at once disposes of the connection between Orpheus 
 and bow instruments.* The earliest form of bow instruments 
 of which we have any knowledge is the Crwth (Crooth), be- 
 longing to Wales. This curious instrument is mentioned by 
 Venantius Fortunatus, Bishop of Poitiers, who lived in the sixth 
 century. It is doubtful whether the Crwth of this period had 
 a bow. It was, possibly, a modified form of the instrument 
 
 * Fetis, " History of Music." 
 
2 THE VIOLIN. 
 
 used by the Egyptians, and likewise played with a plectrum. 
 M. de Coussemaker, in his " Essai sur les Instruments de 
 Musique du Moyen Age," gives the figure of a Crwth of the 
 eleventh century, which has three strings, and is played \viih a 
 roughly-made bow. From the days of Venantius Fortunatus 
 to the eleventh century is a considerable step, and yet there is 
 no mention anywhere of a bow prior to that of M. de Cousse- 
 maker a fact which certainly tends to strengthen the idea that 
 the bow was introduced long after the sixth century. 
 
 The Crwth has undergone many changes. Its earliest form 
 is said to have consisted of a back and sound-board with holes 
 for the hands to pass through, and to have been strung with 
 three strings. M. de Coussemaker gives another form of Crwth 
 of the thirteentli century, from the Cathedral of Amiens, having 
 six strings an important improvement. In Worcester Cathe- 
 dral, according to Carter's "Ancient Sculpture," there is a 
 figure of an angel playing a Crwth of about the twelfth century, 
 having five strings. The addition of one extra string a century 
 later, as shown by M. de Coussemaker, is thus clearly distin- 
 guished. The number of strings on this rude instrument seems 
 to have remained unaltered down to 1742, which is the date 
 of the Crwth exhibited at the Special Exhibition of Ancient 
 Musical Instruments at the South Kensington Museum, in 1872, 
 by Mr. C. Wynne Finch, which has six strings, and measures 
 22 inches in length, 9^ inches in width, and 2 inches in depth, 
 the finger-board being 10^ inches long. This is said to he the 
 only specimen of the Crwth in existence, and to judge from its 
 date the Welsh would appear to have used these instruments 
 down to a comparatively recent period. The name Crwth was 
 applied to instruments of the Violin class as late as the com- 
 mencement of the eighteenth century. Marston, Middleton, 
 and Ben Jonson mention the " crowd." 
 
 We now come to the next order, viz., instruments of the 
 Viol class. These instruments had not the form of the Violins 
 and Violas of our time; they resembled the Mandoline, having 
 pear-shaped backs. M. de Coussemaker mentions an instru- 
 ment to which no name is attached, but which is said to have 
 been invented by Albinus. It has f<>ur strings, is curved some- 
 what like a Violin in order to give room for the movement of 
 the bow, and its sound-holes are placed at the lower portion 
 of the instrument, near the tail-piece. It is noticed in a MS. of 
 the fourteenth century, a date which brings us a century later 
 than the Crwth of the Cathedral of Amiens. 
 
 Mention is made in the fifteenth century of the Vielle, the 
 Rota, and the Rebec, as bowed instruments. At a later period 
 these various species underwent divers changes, and gave birth 
 to the Viol, played on the knee and mounted with five strings; 
 the Treble Viol, also a five-stringed instrument, tuned five notes 
 higher than the knee Viol ; and the Bass Viol, strung with 
 
EARLY HISTORY. 3 
 
 five strings, and sometimes six, which is identical with the 
 Viol da Gamba. The Violone, or large Viol * was placed upon 
 a pedestal when played, as also the Accordo, which is the 
 Double Bass of modern times, but differently arranged as 
 regards its strings. It had sometimes as many as seven or 
 more strings, and the finger-board was divided by frets similar 
 to those of the Viol da Gamba. Besides the instruments here 
 enumerated there was the Viol d'Amour, which had strings of 
 wire passing through the bridge and tuned in unison with those 
 passing over it. This instrument was probably the last of the 
 order. 
 
 M. Fe"tis mentions that towards the close of the fifteenth 
 century the French reduced the Viol, and made from it the 
 Violin as it now exists. It is said that the Violin is indicated 
 in the Italian scenes at the end of the sixteenth century under 
 the names of "piccoli Violini alia Francese" ("little Violins 
 of the Frent h fashion"), from which circumstance M. Fetis 
 assumes that to the French people belongs the credit of intro- 
 ducing the Violin. The foundation upon which the assertion 
 rests is somewhat weak, and needs other support to make it 
 worthy of acceptance. If we turn to the Italian School, we 
 find that Gaspard di Salo made Violins, and that he worked 
 between the years 1560 1610; evidence sufficient to show that 
 Violins were made out of France at the end of the sixteenth 
 century. 
 
 The superiority of the Violin over the Viol soon obtained 
 for it the preference, and it rapidly came into general use. Of 
 the ancient Viols, the only specimens that have been preserved 
 are the Alto or Quinte, the Violone or Violoncelle, and the 
 Accordo or Double Bass, the number of strings having been 
 reduced in each case. 
 
 From this slight sketch of the early history of bowed 
 instruments, the reader may probably have gathered sufficient 
 information of a nature likely to prove interesting to him, and 
 we may, therefore, now pass to the construction of the Violin. 
 
 *The Violoncello was, the Violone of former times. In the earlier editions of 
 Corel!! the Bass part is entitled Violone. The Violoncello was originally mounted 
 with five strings, C. G, D, A, D; about 1600 the D string was removed. The 
 former method of stringing was adopted by the Abbe Tardieu. 
 
SECTION II. 
 THE CONSTRUCTION OK THE VIOLIN. 
 
 TT7HE construction of the present form of the Violin has 
 dlfe occupied the attention of many scientific men. It cannot 
 be denied that the subject possesses a charm sufficiently 
 powerful to induce research, as endeavor is made to discover the 
 causes for the vast superiority of the Violin of the seventeenth 
 century over the many other forms of bow instruments which it 
 has survived. The characteristic differences of the Violin have 
 been obtained at the cost of many experiments in changing the 
 outline and placing the sound-holes in various incongruous 
 positions. These and the many similar freaks of inventors in 
 their search after perfection have signally failed, a result to be 
 expected when it is considered that the changes mentioned 
 were unmeaning, and had nothing but novelty to recommend 
 them. But what is far more extraordinary is the failure of the 
 copyist, who, vainly supposing that he has truthfully followed 
 the dimensions and general features of the Old Masters, at last 
 discovers that he is quite unable to construct an instrument in 
 any way deserving of comparison with the works of the period 
 referred to. The Violin has thus hitherto baffled all attempts 
 to force it into the "march of progress" which most things 
 are destined to follow. The Violin seems to scorn complication 
 in its structure, and successfully holds its own in its simplicity. 
 There is in the Violin, as perfected by the great Cremonese 
 masters, a simplicity combined with elegance of design, which 
 readily courts the attention of thoughtful minds, and gives to it 
 an air of mystery that cannot be explained to those outside of 
 the fiddle world. Few objects possess so charming a display 
 of curved lines as the members of the Violin family. Here we 
 have Hogarth's famous line of beauty worked to perfection in 
 the upper bouts,* in the lower bouts, in the outer line of the 
 scroll, in the sound-hole. Everywhere the perfection of the 
 graceful curve is to be seen. It has been asserted by Hogarth's 
 enemies that he borrowed the famous line from an Italian 
 writer named Lomazzo, who introduced it in a treatise on the 
 Fine Arts. We will be more charitable, and say that he obtained 
 it from contemplation of the beauties of a Cremonese Violin. 
 
 In looking at a Violin we are struck with admiration at a 
 sight of consummate order and grace ; but it is the grace of 
 nature rather than of mechanical art. The flow of curved lines 
 
 * A technical term for the sides. 
 
 (4) 
 
CONSTRUCTION. j 
 
 vvhich the eye detects upon its varied surface, one leading to 
 another, and all duly proportioned to the whole figure, may 
 remind us of the windings of a gentle stream or the twine of 
 tendrils in the trellised vine. 
 
 Often is the question asked, What can there be in a simple 
 Violin to attract so much notice ? What is it that causes men 
 to treat this instrument as no other, to view it as an art picture, 
 to dilate upon its form, color, and date ? To the uninitiated such- 
 devotion appears to be a species of monomania, and attributable 
 to a desire of singularity. It needs but little to show the inac- 
 curacy of such hypotheses. In the first place, the true study 
 of the Violin is a taste which needs as much cultivation as a 
 taste for poetry or any other art, a due appreciation of which is 
 impossible without such cultivation. Secondly, it needs equally 
 with these arts, in order to produce proficiency, that spark 
 commonly known as genius, without which cultivation, strictly 
 speaking, is impossible, there being nothing to cultivate. We 
 find that the most ardent admiration for the Violin regarded as 
 a work of art has ever been found to emanate from those who 
 possessed taste for kindred arts. Painters, musicians, and men 
 of refined minds have generally been foremost among the 
 admirers of the Violin. Much interest attaches to it from the fact 
 of its being an instrument hitherto incapable of improvement 
 as relates to its form or any material feature. The sole differ- 
 ence between the Violin of the sixteenth century and that of 
 the nineteenth lies in the arrangement of the sound-bar (which 
 is now longer, in order to bear the increased pressure caused 
 by the diapason being higher than in former times) and the 
 comparatively longer neck, so ordered to obtain increased 
 length of string. These variations can scarcely be regarded as 
 inventions, but simply as arrangements. Their raison d'etre 
 was the need of adapting the instrument to modern require- 
 ments, so that it might be used in concert with others that have 
 been improved, and allow the diapason to be raised. Lastly, it 
 must be said that, above all, the Violin awakens the interest of 
 its admirers by the tones which it can be made to utter in the 
 hands of a skilful performer. It is, without doubt, marvellous 
 that such sounds should be derivable from so small and simple- 
 looking an instrument. Its expressiveness, power,, and the 
 extraordinary combinations which its stringing admits of, truly 
 constitute it the king of stringed instruments. These some- 
 what desultory remarks may suffice to trace the value set upon 
 the Violin both as a work of art and as a musical instru'ment. 
 
 We will now proceed to consider the acoustical properties 
 of the violin. These are, in every particular, surprisingly great, 
 and are the results of many tests, the chief of which has been 
 the adoption of several varieties of wood in the construction. 
 In Brescia, which was undoubtedly the cradle of Violin manu- 
 facture, the selection of the pear tree, lemon tree, and ash for 
 
'////: VIOLIN. 
 
 the material of the sides and back was very general, and there 
 is every reason to believe that Brescia was the first place where 
 such woods were used. It is possible that the makers who 
 chose them for the sides and backs of their instruments consid- 
 ered it desirable to have material more akin to that adopted 
 for the bellies, which was the finest description of pine, and 
 that the result was found to be a tone of great mellowness. If 
 they used these woods with this intention their calculations 
 were undoubtedly correct. They appear to have worked these 
 woods with but few exceptions for their Violas, Violoncellos, 
 and Double Basses, while they adopted the harder woods for 
 their Violins, all which facts tend to show that these rare old 
 makers did not consider soft wood eligible for the back and 
 sides of the leading instrument; and later experiment has 
 shown them to have arrived at a correct conclusion on this 
 point. The experiments necessary to obtain these results have 
 been effected by cutting woods of several kinds and qualities 
 into various sizes, so as to give the sound <>f a diatonic ^cale. 
 By comparing the intensity and quality of tone produced by 
 each sample of wood, sycamore has been found to surpass the 
 rest. The Cremonese makers seem to have adhered chiefly to 
 the use of sycamore or maple, varying the manner of cutting it. 
 First, they made the back in one piece, technically known as a 
 "whole back;" secondly, the back in two parts; thirdly, the 
 cutting known as the " slab back." There being considerable 
 doubt as to the mode of dividing the timber, the woodcuts 
 given will assist the reader to understand it. Fig. i represents 
 the cutting for the back in two pieces the piece which is 
 separated from the log is divided. Fig. 2 shows the method 
 adopted to obtain the slab form. 
 
 Fig. i 
 
 Tnis mode of cutting is constantly met with in the works 
 of the Brescian makers* and likewise of the early Cremonese. 
 Andrew Amati invariably adopted this form. Stradiuarius 
 rarely cut his wood slab-form. Joseph Guarnerius made a few 
 Violins of his best epoch with this cutting, the varnish of which 
 is of an exquisite orange color, so transparent that the curls of 
 the wood beneath resemble richly illuminated clouds. 
 
 There can be no doubj; whatever that the Cremonese and 
 Brescian artists were exceedingly choice in the selection of their 
 
CONSTRUCTION. ? 
 
 material, and their discrimination in this particular does not 
 appear to have arisen so much from a regard to the beauty 
 as to the acoustic properties of the wood, to which they very 
 properly gave the first place in their consideration. We have 
 evidence of much weight upon this interesting point in the 
 frequent piercings found on the works of Old Masters, who 
 seem to have preferred to retain a piece of wood of known 
 acoustic properties rather than to work in a larger or better 
 preserved portion at the probable expense of tone. In a Viola 
 by Bergonzi is an instance of this desire to preserve rare material. 
 Under its lovely varnish may be seen several pieces let in most 
 artistically. The time and care required for such a delicate 
 operation must have been sufficient to have enabled the artist, 
 had he been so minded, to have made a complete instrument. 
 There is also ample proof that Joseph Guarnerius possessed 
 wood to the exceptional qualities of which he was fully alive, 
 and the same may be said of Stradiuarius, Rugerius, and others. 
 It is scarcely reasonable to suppose that in the seventeenth 
 century there was a dearth in Italy of timber suitable for the 
 manufacture of Violins, and that in consequence these eminent 
 makers were compelled to patch and join their material to suit 
 their purpose. Nor can we think that they did so from an 
 absence of pecuniar}- means, for they were in the enjoyment of 
 a patronage certainly sufficient to enable them to follow their 
 calling without privation of any kind. Scarcity of pine and 
 sycamore, good and bad, could not have been the cause, since 
 we find Italian cabinet-work of great beauty that was manufac- 
 tured at this same period. It is, further, improbable that these 
 masters of the art should have expended such marvellous care 
 and toil over their work, pieced as it frequently was like mosaic, 
 when for a trifling sum they could have avoided such a task to 
 their ingenuity by purchasing fresh wood. We are therefore 
 forced to admit that there must have been some cause of great 
 weight which induced them to apply so much time and labour, 
 and that the problem can only be be accounted for by the 
 solution before proposed, viz., that the wood having acoustic 
 properties thoroughly adapted to the old makers' purpose was 
 of greater importance than external appearance, and that the 
 scarcity of suitable wood was such as to make them hoard and 
 make use of every particle. The selection of material was 
 hence considered to be of prime importance by these makers, 
 and by careful study they brought it to a state of great perfec- 
 tion. The knowledge they gained of this vital branch of their 
 art is enveloped in a similar obscurity to that which conceals 
 their famous varnish, and in these branches of Violin manufac- 
 ture rests the secret of the Italian success, and until it is 
 rediscovered the Cremonese will remain unequaled in the 
 manufacture of Violins. 
 
 We may now pass to the consideration of the various 
 
8 THE VIOLIN. 
 
 constituent parts of a Violin. It will be found if a Violin be 
 taken to pieces that it is constructed of no less than fifty-eight 
 sc|). irate pieces, an astonishing number of factors for so small 
 anil simple-looking an instrument. The back is made of syca- 
 more, in one or two paits; the belly of the finest quality of 
 Swiss pine, and from a piece usually divided ; the sides, like 
 the back, of sycamore, in six pieces, bent to the required 
 form by means i.f a heated iron ; the linings, which are used to 
 secure the back and belly to the sides, are twelve in number, 
 sometimes made of lime tree, but also of pine ; the bass, or 
 sound-bar, is of pine, placed under the left foot of the bridge 
 in a slightly oblique position, in order to facilitate the vibration 
 by giving it the same position as the line of the strings. The 
 old method was to insert it in an exactly straight position, but 
 experience teaches that by this treatment the instrument is 
 muted to some extent The bar of the Violin not only serves 
 tlu purpose of strengthening the instrument in that part where 
 the pressure of the bridge is greatest, but forms a portion of 
 the structure at once curious and deeply interestii g; it may 
 indeed be called the nervous system of the Violin, so exqui- 
 sitely sensitive is it as to external touch. The slightest alter- 
 ation in its position will effect such changes in the tone as often 
 to make a good Violin worthless. Those troublesome notes 
 technically known as " wolf notes " by its delicate arrangement 
 are frequently totally removed, or the malaise is passed to 
 intervals where the disagreeable sound is felt with less intensity. 
 Numerous attempts have been made to reduce these features 
 to a philosophy, but the realization of the coveted discovery 
 appears as distant as ever. The most minute variation in the 
 construction of the instrument necessitates a different treat- 
 ment of this active agent as regards its conjunction with the 
 bridge ; and when it is considered that scarcely two Violins can 
 be found of exactly identical structure, it must be admitted that 
 the difficulties in the way of laying down any set of hard and 
 fast rules for their regulation seem to be insuperable. 
 
 The next important feature of the internal organism is the 
 sound-post, which serves many purposes. The sound passes 
 through it to the back, it gives support on the right side of the 
 instrument, and lastly, regulates the power and quality of the 
 sound. If we accept the sound-bar as the nervous system 
 of a Violin, the sound-post may be said to perform the functions 
 of the heart with unerring regularity. The pulsations f sound 
 are regulated by this admirable contrivance. If mellowness 
 of quality is sought, a slight alteration of its position or form 
 will produce a favorable change of singular extent ; if intensity 
 of tone be requisite, the sound-post is again the regulator. 
 It must, of course, be understood that its power of changing the 
 quality of the tone is limited in proportion to the constitutional 
 powers of the instrument in each case. It is not pretended that 
 
CONSTRUCTION. 9 
 
 a badly constructed instrument can be made a good' one by 
 means of this subtle regulator, any more than a naturally weak 
 person can be made robust by diet and hygiene. 
 
 The position of the sound-post is usually one eighth to 
 three-eighths of an inch behind the right foot of the bridge, the 
 distance being variable according to the model of the instru- 
 ment. If the type be high built, the post requires to be nearer 
 the bridge, that its action may be stronger ; while flat instru- 
 ments, which have a tendency to bring the vibrations closer 
 from back to belly, necessarily require that the post be set 
 further away from the bridge. It is not possible to have any 
 uniform arrangement of the sound-post in all instruments ; as 
 we have remarked before in reference to the bass-bar, the vari- 
 ations in the thickness, outline, model, etc., of the Violin are 
 so frequent as to defy identity of treatment ; uniformity has 
 been sought for, but without success. 
 
 The post can only be adjusted by a skilful workman who 
 either plays himself or has the advantage of having the various 
 adjustments tested by a performer. The necessity of leaving 
 this exceedingly delicate matter in practised hands cannot be 
 too strongly impressed upon the amateur, for the damage done 
 in consequence of want of skill is often irreparable. 
 
 There are two methods of setting the sound-post in the 
 instrument : the first fixes it in such a position as to place the 
 grain of the post parallel with the grain of the belly ; the second 
 sets it crosswise. 
 
 The next important feature to be mentioned is the bridge, 
 which forms no small part of the vibrating mechanism of 
 the instrument, and needs the utmost skill in its arrangement. 
 Its usual position is exactly between the two small niches 
 marked in each sound-hole, but this arrangement is sometimes 
 altered in the case of the stop being longer or shorter. Many 
 forms of bridges have been in use at different periods, but that 
 now adopted is, without doubt, the best. In selecting a bridge 
 great care is requisite that the wood be suitable to the constitu- 
 tion of the Violin. If the instrument is wanting in brilliancy, 
 a bridge having solidity of fibre is necessary ; if wanting in 
 mellowness, one possessing soft qualities should be selected. 
 
 We now pass to the neck of the Violin, which is made of 
 sycamore or maple. Its length has been increased since the 
 days of the great Italian masters, who seem to have paid but 
 little attention to this portion of the instrument. As relates to 
 its appearance, and the wood used for its manufacture, which 
 was of the plainest description, it may be observed that in those 
 times the florid passages which we now hear in Violin music were 
 in their infancy, the first and second positions being those chiefly 
 used ; hence the little attention paid to the handle of the instru- 
 ment. Modern requirements have made it imperative that the 
 neck should be well shaped, neither too flat nor too round, but 
 
to THE 
 
 of a happy medium. The difficulties of execution are sensibly 
 lessened when attention is paid to this requirement. 
 
 The finger-board is of ebony, and varies a little in length 
 according to the position of the sound-holes. To form the 
 board properly is a delicate operation, for if it be not carefully 
 constructed the strings jar against it and the movements of the 
 bow are impeded. 
 
 The nut, or rest, is that small piece of ebony over which 
 the strings pass on to the finger-board. 
 
 The principal parts of the instrument have now been 
 described, and there remain only the pegs, blocks, purfling, 
 strings, and tail-piece, the sum of which makes up the number 
 of fifty-eight constituent parts, as before mentioned. There is 
 still, however, one item of the construction to be mentioned 
 which does not form a separate portion of the Violin, but which 
 is certainly worthy of notice, viz., the button, which is that small 
 piece of wood against which the heel of the neck rests. The 
 difficulty of making this apparently insignificant piece can only 
 be understood by those who have gone through the various 
 stages of Violin manufacture. The amount of finish given to 
 the button affects in a great measure the whole instrument, and 
 if there is any defect of style it is sure to be apparent here. It 
 is a prominent feature, and the eye naturally rests upon it : as 
 the key-stone to the arch, so is the button to the Violin. 
 
 From the foregoing remarks upon the various portions 
 of the Violin it may be assumed that the reader has gained 
 sufficient insight into the process of its manufacture to enable 
 him to dispense with a more minute description of each stage. 
 It is unnecessary to pursue the details any further, unless the 
 reader has resolved to make a Violin with his own hands, in which 
 case he may judiciously peruse Maugin's " Manuel du Luthier," 
 which will be found to contain much useful information. 
 
 In conclusion, I cannot refrain from cautioning possessors 
 of good instruments against entrusting them into the barbaric 
 hands of pretended repairers, who endeavor to persuade them 
 into the belief that it is necessary to do this and that and the 
 other for their benefit. The quack doctors of the Violin are 
 legion they are found in every town and city, ready to prey 
 upon the credulity of the lovers of fiddles, and the injury 
 they inflict on their helpless patients is frequently irreparable. 
 Unfortunately, amateurs are often prone to be continually 
 unsettling their instruments by trying different bars, sound- 
 posts, etc. , without considering the danger they run of damaging 
 their property instead of improving it. Should your instrument 
 need any alteration, no matter how slight, consult only those who 
 have made the subject a special study. There are a few such 
 men to be found in the chief cities of Europe, men whose love 
 for the instrument is of such a nature that it would not permit 
 them to recommend alterations prejudicial to its well-being. 
 
SECTION III. 
 ITALIAN AND OTHER STRINGS. 
 
 <7 T PON the strings of the Violin depends in a great measure 
 (| the successful regulation of the instrument. If, after 
 ^^^ the careful adjustment of bridge, sound-post, and sound- 
 bar, strings are added which have not been selected with due 
 care and regard to their relative proportion, the labor expended 
 upon the important parts named is at once rendered useless. 
 Frequently the strings are the objects least considered when 
 the regulation of a Violin is attempted ; but if this be the 
 case, results anything but satisfactory ensue. It is, therefore, 
 important that every violinist should endeavor to make himself 
 acquainted with the different varieties and powers of strings, 
 that he may arrange his instrument with greater facility. 
 
 Musical strings are manufactured in Italy, Germany, France, 
 and England. The Italians rank first in this manufacture, their 
 proficiency being evident in the three chief requisites for strings, 
 viz., high finish, great durability, and purity of sound. There 
 are manufactories at Rome, Naples, Padua, and Verona, the 
 separate characteristics of which are definitely marked in their 
 produce. Those strings which are manufactured at Rome are 
 exceedingly hard and brilliant, and exhibit a slight roughness 
 of finish. The Neapolitan samples are smooth and softer than 
 the Roman, and also whiter in appearance. Those of Padua 
 are highly polished and durable, but frequently false. The 
 Veronese strings are softer than the Paduan, and deeper in 
 color. The variations described are distinct, and the more 
 remarkable that each of the four kinds are produced by one 
 and the same nation ; as, however, the raw material is identical 
 throughout Italy, the process of manufacture in each case must 
 be looked upon as the differentiating cause. The German 
 strings now rank next to the Italian, Saxony being the seat of 
 manufacture. They may be described as very white and smooth, 
 the better kinds being very durable. Their chief fault arises 
 from their being over-bleached, and hence faulty in sound. 
 The French take the third place in the manufacture. Their 
 strings are carefully made, and those of the larger sizes answer 
 well ; but the smaller strings are wanting in durability. The 
 English manufacture all qualities, but chiefly the cheaper kinds ; 
 they are durable, but unevenly made, and have a dark appear- 
 ance. 
 
 The cause of variation in quality of the several kinds enu- 
 
12 Tin-: r jo LIN. 
 
 merated arises simply from the difference of climate. In Italy 
 an important part of the process of manufacture is carried on 
 in the open air, and the beautiful climate is made to effect that 
 which has to be done artificially in other countries. Hence the 
 Italian superiority. Southern Germany adopts, to some extent, 
 similar means in making strings; France, to a less degrie; 
 while England is obliged to rely solely on artificial processes. 
 It therefore amounts to this result the further from Italy the 
 seat of manufacture, the more inferior the string. 
 
 Strings, although called "catgut," are not made from the 
 intestines of that domestic animal, as is commonly supposed. 
 Whether they were originally so made, and hence derive their 
 name, it is impossible to learn. We may be sure, however, 
 that had the raw material been drawn from that source up to 
 the present time there would have been no occasion to check 
 the supply of the feline race by destroying nine kittens out of 
 ten ; on the contrary, the rearing of cats would indeed have 
 been a lucrative occupation. A time-honored error is thus 
 commemorated in a word, whose very origin must be ascribed 
 to want of thought. If the number of cats requisite for the 
 string manufacture be considered for a moment it is easy to see 
 that Shylock's "harmless necessary" domestics are under no 
 contribution in this matter. Strings are made from the intes 
 tines of the sheep and goat, chiefly of the former. The best 
 qualities are made from the intestines of the lamb, the strength 
 of which is very great if compared with those of a sheep more 
 than a year old. This being so, the chief manufacture of the 
 year is carried on in the month of September, the September 
 string makings being analogous to October brewings. The 
 demand for strings made at this particular season far exceeds 
 the supply, and notably is this the case with regard to the strings 
 of small size, which have to bear so great a strain that if they 
 were not made of the best material there is little chance of their 
 endurance. To enter into a description of the various pro- 
 cesses of the manufacture is unnecessary, as it would form a 
 subject of little interest to the general reader ; we may, there- 
 fore, conclude this brief notice of strings by a few rules to be 
 observed in their selection. 
 
 Endeavor to obtain strings of uniform thickness through- 
 out ; a requisite which can only be insured by careful gauging. 
 In selecting the E string, choose those that are most transparent ; 
 the seconds and thirds, as they are spun with several threads 
 are never very clear. The firsts never have more than a feu 
 threads in them, and hence, absence of transparency in theii 
 case denotes inferior material. Before putting on the first 
 string, in particular, in order to test its purity, it will be well to 
 adopt Spohr's method, which is to hold between the fingers of 
 each hand a portion of the string sufficient to stretch from the 
 bridge to the nut, and to set it in vibration. If two lines onlv 
 
ITALIAN AND OTHER STRINGS. 13 
 
 be apparent, the string is free from falseness ; if a third line be 
 produced, the contrary conclusion must be assumed. In the 
 case of seconds and thirds we cannot always rely on this test, 
 as the number of threads used in their manufacture frequently 
 prevents, the lines being perfectly clear. The last precaution 
 of moment is to secure perfect fifths, which can only be done 
 by taking care that the four strings are in true proportion with 
 each other. To string a Violin correctly is a very difficult 
 undertaking, and requires considerable patience. The first 
 consideration should be the constitution of the Violin : the 
 strings that please one instrument torture another. Neither 
 Cremonese Violins nor old instruments in general require to be 
 heavily strung: the mellowness of the wood and their delicate 
 construction require the stringing to be such as will assist 
 in bringing out that richness of tone which belongs to first- 
 rate instruments. If the bridge and sound-board be heavily 
 weighted with thick strings, vibration will surely be checked. 
 In the case of modern instruments, heavy in wood, and needing 
 constant use to wear down their freshness, strings of a large 
 size maybe used with advantage, and particularly when such^ 
 instruments are in use for orchestral purposes. 
 
 Vast improvements have been effected in the stringing of 
 Violins within the last thirty years. Strings of immense size 
 were used alike on Violins, Violoncellos, Violas, and Double 
 Basses. Robert Lindley, the king of English violoncellists, 
 used a string for his first very nearly equal in size to the second 
 of the present time, and the same robust proportion was 
 observed in his other strings. The Violoncello upon which he 
 played was by Forster, and would bear much heavier stringing 
 than an Italian instrument ; and, again, he was a most forcible 
 player, and his power of finger quite exceptional. Dragonetti, 
 the famous contra-basso player, and coadjutor of Lindley, 
 possessed similar powers, and used similar strings as regards 
 size. Their system of stringing was adopted indiscriminately. 
 Instruments weakly or strongly built received uniform treat- 
 ment, the result being in many cases an entire collapse and 
 the most disappointing effects in the tone. It was vainly sup- 
 posed that the ponderous strings of Dragonetti and Lindley 
 were the talisman by use of which their tone would follow as 
 a matter of course, whereas in point of fact it was scarcely 
 possible to make the instruments utter a sound when deprived 
 of the singular muscular power possessed by those famous 
 players. After Lindley's death his system passed away grad- 
 ually, and attention was directed to the better adaptation of 
 strings to the instrument, and also to the production' of perfect 
 fifths. 
 
 We have now only to speak of covered strings, in which it 
 is more difficult to obtain perfection than in the case of those 
 of gut. There are several kinds of covered strings. There are 
 
14 THE VIOLIN. 
 
 those of silver wire, which are very durable, and have a soft 
 quality of sound very suitable to old instruments, and are, 
 therefore, much used by artists ; there are those of copper 
 plated, and also of copper without plating, which have a pow- 
 erful sound ; and, lastly, there are those which are made with 
 mixed wire, an arrangement which prevents in a measure the 
 tendency to rise in pitch, a disadvantage common to covered 
 strings and caused by expansion in consequence of the coun- 
 teraction of the metals ; these strings also possess a tone which 
 is a combination of that produced by silver and copper strings. 
 Here again, however, great discrimination is needed, viz., before 
 putting on the fourth string. The instrument must be under- 
 stood. There are Violins which will take none but fourths of 
 copper, there are others that will be simply crippled by their 
 adoption. It cannot be too much impressed upon the mind of 
 the player that the Violin requires deep and patient study with 
 regard to every point connected with its regulation. So varied 
 are these instruments in construction and constitution, that 
 before their powers can be successfully developed they must be 
 Jiumored, and treated as the child of a skilful educator, who 
 watches to gain an insight into the character of his charge, and 
 then adopts the best means for its advancement according to 
 the circumstances ascertained. 
 
SECTION IV. 
 THE ITALIAN SCHOOL. 
 
 VT7HE fifteenth century may be considered as the period 
 el I when the art of making- instruments of the Viol class 
 took root in Italy a period rich in men laboring in the 
 cause of Art. The long list of honored names connected with 
 Art in Italy duiing the fifteenth, sixteenth, and seventeenth 
 centuries is a mighty roll-call indeed ! The memory dwells 
 upon the number of richly-stored minds that have, within the 
 limits of these three centuries, bequeathed their art treasures 
 to all time ; and if here we cannot suppress a comparison of 
 the art world of the present Italy with that of the periods 
 named, still less can we fail to be astonished as we discover the 
 abyss in point of merit into which Italy must be judged to have 
 sunk, when measured by the high standard which in former 
 days she set herself. But perhaps the greatest marvel of all is 
 the rapidity of this decadence when it once set in, as it did 
 immediately after the culminating point of artistic fame had 
 been reached. 
 
 To inquire into the many causes 01 the decline of Art 
 in Italy would be wholly foreign to the purpose of a book on 
 Violins, however capable the writer might be of handling such 
 a subject. Such a capability the writer of these pages entirely 
 disclaims ; but it cannot be doubted that such an inquiry is rich 
 in interest, and worthy of skilful treatment. 
 
 To reflect for a moment upon the many famous men in 
 Italy engaged in artistic vocations contemporaneously with the 
 great Violin makers cannot fail to be interesting to the lovers 
 of our instrument, for it has the effect of surrounding their 
 favorite with an interest extending beyond its own path. Hence 
 a brief mention of a few luminaries in the art world of the 
 periods named may not be unacceptable to the reader. 
 
 If we turn to the days of Gaspard di Salo, Morelli, 
 Magini, and the Amatis, we find that while they were sending 
 forth their fiddles, Raphael Leonardo da Vinci, Titian, and 
 Tintoretto were busily painting their immortal works. Whilst 
 the master-minds of Antonius Stradiuarius and Joseph Guar- 
 nerius were occupied with those instruments which have caused 
 their names to be known throughout the civilized world (aye, 
 and wwcivilized too, for many thousands of Violins are yearly 
 made into which their cherished names are thrust, after which 
 they are despatched for the negro's use), Canaletto was paint- 
 
 ('5) 
 
16 THE VIOLIN. 
 
 ing his Venetian squares and canals, Giorgio was superintend- 
 ing the manufacture of his inimitable majolica ware, Venetians 
 whose names are unrecorded, blowing glass of wondrous form 
 and beauty. At the same time, in the musical world, Corelli 
 was writing his gigues and sarabandes, Geminiani penning, 
 probably, the first instruction book for the Violin, Tartini 
 dreaming his "Sonata del Diavolo ;" and while Guadagnini 
 and the stars of lesser magnitude were exercising their calling, 
 Viotti, the originator of a school of Violin playing, was writing 
 his concertos, and Boccherini laying the foundation of classical 
 chamber-music of a light and pleasing character. It would be 
 easy to continue this vein of thought, were it not likely to become 
 irksome to the reader ; enough has been said to refresh the 
 memory as to the flourishing state of Italian art during these 
 times. What a mine of wealth was then opened up for suc- 
 ceeding generations ! and how curious is the fact that not only 
 the Violin, but its music, has been the creature of the most 
 luxurious age of art, for in that golden age musicians contem- 
 porary with the great Violin makers were writing music destined 
 to be better understood and appreciated when the Violins then 
 made should have reached their maturity. 
 
 That Italy's greatest Violin makers lived in times favorable 
 to the production of works possessing a high d 2gree of merit 
 cannot be doubted. They were surrounded by composers of 
 rare powers, and also by numerous orchestras. These orches- 
 tras, composed mainly of stringed instruments, were scattered 
 over Italy, Germany, and France, in churches, convents, and 
 palaces, and must necessarily have created a great demand for 
 bow instruments of a high class.* 
 
 The bare mention of a few of the names of composers then 
 existing will be sufficient to bring to the mind of the reader 
 well versed in musical matters the compositions to which they 
 owe their fame. In the sixteenth century, Palestrina, Guanii, 
 and Zarlino were engaged in writing church music, in which 
 stringed instruments took their share ; in the seventeenth, 
 lived Stradella, Lotti, Bononcini, Lully, and Corelli. In the 
 eighteenth century, the period when the art of Violin making 
 was at its zenith, the list is indeed a glorious one. At this point 
 we reach the constellation of Scarlatti, Geminiani, Vivaldi, 
 Locatelli, Boccherini, Tartini, Piccini, Viotti, Nardini among 
 the Italians; while in France it is the epoch of Lecler and 
 Gavinies, composers of Violin music of the highest excellence. 
 Surrounded by these men of rare genius, who lived but to 
 disseminate a taste for the king of instruments, the makers of 
 Violins must certainly have enjoyed considerable patronage, 
 and doubtless the artists of tried ability readily obtained highly 
 
 * Montagne, whose travels brought him to Verona in 1580, has recorded that 
 there were Violins as well as Organs there to accompany the mass in the great 
 church. 
 
THE ITALIAN SCHOOL. 77 
 
 remunerative prices for their instruments, and were encouraged 
 in their march towards perfection both in design and workman- 
 ship. Besides the many writers for the Violin, and executants, 
 there were numbers of ardent patrons of the Cremonese and 
 Brescian makers. Among these may be mentioned the Duke 
 of Ferrara, Cardinal Ottoboni, with whom Corelli was in high 
 favor, also the Elector of Bavaria and Charles IX., all of whom 
 gave encouragement to the art by ordering complete sets of 
 stringed instruments for their chapels and for other purposes. 
 By the aid of such valuable patronage the makers were enabled 
 to center their attention on their work, and received reward 
 commensurate with the amount of skill displayed. This had 
 the effect of raising them above the status of the ordinary 
 workman, and permitted them as a body to pass their lives 
 amid comparative plenty. There are, without doubt, instances 
 of great results obtained under trying circumstances, but the 
 genius required to combine a successful battle with adversity 
 with high proficiency in art is indeed a rare phenomenon. 
 Carlyle says of such minds : " In a word, they willed one thing, 
 to which all other things were subordinated and made subser- 
 vient, and therefore they accomplished it. The wedge will rend 
 rocks, but its edge must be sharp and single ; if it be double 
 the wedge is bruised in pieces, and will rend nothing." It may,.. 
 therefore, be affirmed that the greatest luminaries of the art 
 world have shone most brightly under circumstances in keeping 
 with their peaceful labors, it not being essential to success that 
 men highly gifted for a particular art should have this strength 
 of will unless there were immediate call for its exercise. We 
 need not go far afield for instances to prove the beneficial effects 
 upon art generally of prosperous circumstances as compared 
 with times of hardship. Well-known cases may be cited in 
 relation to this subject, and notably that of Joseph Guarnerius 
 del Jesu. How marked the disturbance of mind portrayed in 
 the Violins of Joseph Guarnerius which were made during the 
 time that he forfeited his liberty for a political offence ! The 
 hand of the great master is stamped upon them, adversity had 
 no solvent which could efface it, yet the connoisseur readily 
 detects absence of finish and other shortcomings in these instru- 
 ments, all of which are satisfactorily accounted for when the 
 circumstances under which the Violins were made are consid- 
 ered. It is observable that all the specimens made at this period 
 have the same characteristics of the pressure of hard times. 
 On the other hand, how finely wrought are the instruments of a 
 different date, how uniform as regards finish ! The curves are 
 executed with a delicacy truly beautiful ; the corners are studied 
 as one, not as four. It seems, therefore, impossible to recon- 
 cile such marked variations unless we consider the homelier 
 and rougher specimens of Guarnerius as the results of a dis- 
 turbed mind. Unfortunately, we have no means oi procuring 
 
is THE no LIN. 
 
 biographical knowledge of him, or of the other makers. Were 
 it possible to obtain this, how many curious differences of 
 execution noticeable in many of the productions might be 
 accounted for! Gaspard di Salo, the Amatis, and Stradiuarius 
 were makers who seem to have worked with a singular unifor- 
 mity and evenness of purpose which has left its mark on their 
 works, so much so indeed as to make it exceedingly difficult 
 to discover an instance where this is not manifested. They 
 certainly made instruments upon which exceptional efforts to 
 finish are to be traced but, at the same time, if their labours be 
 regarded as a whole, workmanlike care can never be said to be 
 absent. 
 
 Judging from the large number of bow-instrument makers 
 in Italy, more particularly during the seventeenth century, we 
 should conclude that the Italians must have been considered as 
 far in advance of the makers of other nations, and that they 
 monopolised, in consequence, the chief part of the manufac- 
 ture. The city of Cremona became the seat of the trade, and 
 the centre whence, as the manufacture developed itself, other 
 less famous places maintained their industry. In this way there 
 arose ultimately several distinct schools of a character marked 
 and thoroughly Italian, but not attaining the high standard 
 reached by the parent city. Notwithstanding the inferiority of 
 the makers of Naples, Florence, and other homes of the art as 
 compared with the Cremonese, they seem to have received a 
 fair amount of patronage, the number of instruments manufac- 
 tured in these places of lesser fame being considerable. 
 
 To enable the reader to understand more readily the various 
 types of Italian Violins, they may be classed as the outcome of 
 five distinct schools. The first is that of Brescia, dating from 
 about 1520 to 1620, and embracing the following makers : Gas- 
 pard di Salo, Magini, Mariani, Venturini, Budiani, Mateo Bente. 
 and a few others of less note. The next, and most important 
 school, was that of Cremona, dating from 1550 to 1760, or even 
 later, and including the following makers : Andrea Amati, 
 Jerome Amati, Antony Amati, Nicholas Amati, Jerome Amati 
 son of Nicholas, Andrea Guarnerius, Peter Guarnerius, Joseph 
 Guarnerius the nephew of Andrea, Joseph Guarnerius the son 
 of Andrea, Antonius Stradiuarius, and Carlo Bergonzi. Sev- 
 eral well-known makers have been omitted in the foregoing 
 list simply because they were followers of those mentioned, 
 and therefore cannot be credited with originality of design. 
 The makers of Milan and Naples may be braced together as 
 one school, under the name of Neapolitan, dating from 1680 to 
 1800. This school contains makers of good repute, viz., the 
 members of the Grancino family, Carlo Antonio Testore, Paul 
 Testore, the Gagliano family, and Ferdinand Landolphi. The 
 makers of Florence, Bologna, and Rome may likewise be 
 classed together in a school that dates from 1680 to 1760, and 
 
Ki) DI SALO. 
 
THE ITALIAN SCHOOL. i 9 
 
 includes the following names : Gabrielli, Anselmo, Florentus, 
 Techier, and Tononi. The Venetian school, dating from 1690 
 to 1764, has two very prominent members in Domenicus Mon- 
 tagnana and Sanctus Seraphino : but the former maker may, 
 not inappropriately, be numbered with those of Cremona, for 
 he passed his early years in that city, and imbibed all the char- 
 acteristics belonging to its chief makers. 
 
 Upon glancing at this imposing list of makers it is easy to 
 understand that it must have been a lucrative trade which in 
 those days gave support to so many ; and, further, that Italy, 
 as compared with Germany, France, or England at that period, 
 must have possessed, at least, more makers by two-thirds than 
 either of those three countries. And this goes far to prove, 
 moreover, that the Italian makers received extensive foreign 
 patronage, their number being far in excess of that required to 
 supply their own country's wants in the manufacture of Violins. 
 
 Brescia was the cradle of Italian Violin-making, for the few 
 makers of bowed instruments (among whom were Gaspard 
 Duiffoprugcar, who established himself at Bologna, Dardelli of 
 Mantua, Linarolli and Mailer of Venice) cannot be counted 
 among Violin makers with any degree of certainty. The only 
 maker, therefore, of the Violin of the earliest date, it remains 
 to be said, was Gaspard di Salo, to whom belongs the credit of 
 raising the manufacture of bowed instruments from a rude state 
 to an art. There is a certain similarity between the early works 
 of Gaspard di Salo and those of Gaspard Duiffoprugcar, but 
 the link that connects these two makers is very slight, and in 
 the absence of further information respecting the latter as an 
 actual maker of Violins the credit of authorship must certainly 
 belong to Gaspard di Salo. 
 
 We are indebted to Brescia for the many grand Double- 
 basses and Violas that were made there by Gaspard di Salo 
 and Magini. These instruments formed the stepping-stones to 
 Violin-making, for it is evident that they were in use long 
 before the first era of the Violin. The Brescian Violins have 
 not the appearance of antiquity that is noticeable in the 
 Double-basses or Violas, and for one Brescian Violin there are 
 ten Double-basses, a fact which goes far to prove that the 
 latter was the principal instrument at that time. The bowed 
 instruments then in use appear to have been the following :_ the 
 Viola, which was used under the chin, the Viola da Braccio, a 
 much larger instrument, which was played resting on the knee, 
 the Viola da Gamba, used between the legs, and the Violono. 
 There were both large and small Violonos. The stringing of 
 all these instruments was different to that now in use, and they 
 have been in most cases transformed to suit modern require- 
 ments,the large Violas having been reduced, the Viol da Gambas 
 either made into Violas or strung as Violoncellos ; there have 
 been also other changes. The Violin would, therefore, seem 
 
20 THE VIOLIN. 
 
 to have appeared during the latter part of the life of Gaspard 
 di Salo. 
 
 From Brescia came the masters who established the school 
 of Cremona. The Amatis took the lead, their founder being 
 Andrew Amati, after whom each one of the clan appears to have 
 gained a march on his predecessor until the grand masters of 
 their art, Antonius Stradiuarius and Joseph Guarnerius del Jesu 
 advanced far beyond the reach of their fellow makers or 
 followers. The pupils of the Amatis, Stradiuarius, and Guar- 
 nerius settled in Milan, Florence, and other cities previously 
 mentioned as centres of Violin making, and thus formed the 
 distinct character or school belonging to each city. A close 
 study of the various schools shows that there is much in com- 
 mon among them. A visible individuality is found throughout 
 the works of the Italian makers; it is not to be met with in 
 anything approaching the same degree in the similar produc- 
 tions of other nations. Among the Italians each artiste appears 
 to have at first implicitly obeyed the teachings of his master, 
 afterwards, as his knowledge increased, striking out a path for 
 himself. To such important acts of self-reliance may be traced 
 the absolute perfection to which the Italians at last attained. 
 Not content with the production of instruments capable of 
 producing the best tone, they strove to give them the highest 
 finish, and were rewarded, possibly, beyond their expectation. 
 The individuality noticed as belonging in a high degree to 
 Italian work is, in many instances, very remarkable. How 
 characteristic the scroll and sound-hole of each several maker ; 
 Master and pupil differ here in about the same degree as the 
 handwriting of father and son, and often more. Although 
 Stradiuarius was a" pupil of Nicholas Amati, yet how marked is 
 the difference between the scrolls and sound-holes of these 
 two makers ; Carlo Bergonzi worked with Stradiuarius, yet the 
 productions of these two are still more easily known apart. A 
 similarly well-defined originality is found in a more or less 
 degree to pervade the entire series of Italian Violins, and 
 forms a feature of much interest to the connoisseur. 
 
SECTION A'. 
 THE ITALIAN VARNISH. 
 
 HWORI) or t\vo must be said upon the famous varnish of 
 the Italians, which has hitherto baffled all attempts to 
 solve the mystery of its formation. Every instrument 
 belonging to the school of Cremona has it, more or less, in all 
 its marvellous beauty, and to these instruments the resolute 
 investigator turns and turns, promising himself the discovery 
 of its constituent parts. The more its lustre penetrates his soul 
 the more determined becomes his efforts. As jet, however, 
 all such praiseworthy researches have been futile, and the 
 composition of the Cremonese varnish remains a secret lost to 
 the world as much so as the glorious ruby lustre of Giorgio 
 and the blue so coveted by connoisseurs of china. Mr. Charles 
 Reade truly says, " No wonder, then, that many Violin makers 
 have tried hard to discover the secret of this varnish : many 
 chemists have given anxious days and nights to it. More than 
 once, even in my time, hopes have run high, but only to fall 
 again. Some have even cried ' Eureka ' to the public ; but the 
 moment others looked at their discovery and compared it with 
 the real thing, 
 
 ' Inextinguishable laughter shook the skies.' 
 
 At last despair has succeeded to all that energetic study, and 
 the varnish of Cremona is sullenly given up as a lost art." 
 
 Declining, therefore, all speculation as to what the varnish 
 is or what it is not, or any nostrums for its re- discovery, we 
 will pass on at once to the description of the different Italian 
 varnishes, which may be divided into four distinct classes, viz., 
 the Brescian, Cremonese, Neapolitan, and Venetian. These 
 varnishes are quite separable in one particular, which is, the 
 depth of their colouring ; and yet three of them, the Brescian, 
 Cremonese, and Venetian, have, to all appearance, a common 
 basis. This agreement may be accounted for with some show 
 of reason by the supposition that there must have been a dep6t 
 in each city where the varnish was sold in an incomplete form, 
 and that the depth of colour used, or even the means adopted 
 for colouring rested with the maker of the instrument. If we 
 examine the Brescian varnish we find an almost complete 
 resemblance between the material of Gaspard di Salo and that 
 of his coadjutors, the colouring only being different. Upon 
 turning to the Cremonese, we find that Joseph Guarnerius, 
 Stradiuarius, Carlo Bergonzi and a few others used varnish 
 
 (21) 
 
22 THE I '10 LIN. 
 
 having the same characteristics, but, again, different in shade ; 
 possibly the method of laying it upon the instrument was 
 peculiar to each maker. Similar facts are observable in the 
 Venetian specimens. The varnish of Naples, again, is of a 
 totally different composition, and as it was chiefly in vogue 
 after the Cremonese was lost, we may conclude that it was 
 probably produced by the Neapolitan makers for their own need. 
 
 If we reflect for a moment upon the extensive use which 
 these makers made of the Cremonese varnish, it is reasonable 
 to suppose that it was an ordinary commodity in their days, and 
 that there was then no secret in the matter at all. To account 
 for its sudden disappearance and total loss, is, indeed, not easy. 
 After 1760, or even at an earlier date, all trace of it is oblit- 
 erated. The demand for it was certainly not so great as it had 
 been, but quite sufficient to prevent the supply from dying out, 
 had it been possible. The problem of its sudden disappear- 
 ance may, perhaps, be accounted for without overstepping the 
 bounds of possibility if we suppose that the varnish was com- 
 posed of a particular gum quite common in those days, exten- 
 sively used for other purposes besides the varnishing of Violins, 
 and thereby caused to be a marketable article. Suddenly, we 
 will suppose, the demand for its supply ceased, and the commer- 
 cial world troubled no further about the matter. The natural 
 consequence would be non-production. It is well known that 
 there are numerous instances of commodities once in frequent 
 supply and use, but now entirely obsolete and extinct. 
 
 While, however, our attention has been mainly directed to 
 the basis of the celebrated varnish, it must not be supposed 
 that its colouring is of no importance. In this particular each 
 maker had the opportunity of displaying his skill and judgment, 
 and probably it was here, if anywhere, that the secret rested. 
 The gist of the matter, then, is 'simply that the varnish was 
 common to all, but the colouring and -mode of application 
 belonged solely to the maker, and hence the varied and inde- 
 pendent appearance of each separate instrument. With regard, 
 however, to the general question as to what the exact composi- 
 tion of the gum was or was not, we shall hazard no further 
 speculation, and are profoundly conscious of the fact that our 
 present guesses have gained no nearer approaches to the 
 re-discovery of the buried treasure. 
 
 A description, however, of the various Italian varnishes 
 may not be inappropriate. The 'Brescian is mostly of a rich 
 brown color and soft texture, but not so clear as the Cremonese. 
 The Cremonese is of various shades, the early instruments of 
 the school being chiefly amber-coloured, afterwards deepening 
 into a light red of charming appearance, later still into a rich 
 brown of the Brescian type, though more transparent, and 
 frequently broken up, while the earlier kinds are velvet like. 
 The Venetian is also of various shades, chiefly light red. and 
 
THE ITALIAN VARNISH. 23 
 
 exceedingly transparent. The Neapolitan varnish (a generic 
 term including that of Milan and a few other placts) is very 
 clear, and chiefly yellow in color, but wanting the dainty soft- 
 ness of the Cremonese. It is quite impossible to give such a 
 description of these varnishes as will enable the reader at once 
 to recognise them ; the eye must undergo considerable exercise 
 before it can discriminate the various qualities ; practice, how- 
 ever, makes it so sharp that from a piece of varnishing the size 
 of a shilling it will obtain evidence sufficient to decide upon the 
 rank of the Violin. 
 
 And here, before we dismiss the subject of the varnish, 
 another interesting question occurs, What is its effect, apart 
 from any appearance as a cosmetique, upon the efficiency of 
 the instrument ? The idea that the varnish of a Violin has some 
 influence upon its tone has often been ridiculed, and we can 
 quite understand that it must appear absurd to those who have 
 not viewed the question in all its bearings. Much misconcep- 
 tion has arisen from either pushing this theory about the varnish 
 too far or not far enough. What seems sometimes to be implied 
 by enthusiasts is, that the form of the instrument is of little im- 
 portance provided the varnish is good, which amounts to saying 
 that a common Violin may be made good by means of varnish- 
 ing it. The absurdity of such a doctrine is self-evident. On 
 the other hand, there are rival authorities who attach no im- 
 portance to varnish in relation to tone. That the varnish does 
 influence the tone there is strong proof, and to make this plain 
 to the reader should not be difficult. The finest varnishes are 
 those of oil, and they require the utmost skill and patience in 
 their use. They dry very slowly, and may be described as of 
 a soft and yielding nature. The common varnish is known as 
 spirit varnish ; it is easily used and dries rapidly, in considera- 
 tion of which qualities it is generally adopted in these days of 
 high pressure. It may be described as precisely the reverse of 
 the oil varnish ; it is hard and unyielding. Now a Violin 
 varnished with fine oil varnish, like all good things, takes time 
 to mature, and will not bear forcing in any way. At first the 
 instrument is somewhat muffled, as the pores of the wood have 
 become impregnated with oil. This makes the instrument 
 heavy both in weight and sound ; but as time rolls on the oil 
 dries, leaving the wood mellowed and wrapped in an elastic 
 covering which yields to the tone of the instrument and imparts 
 to it much of its own softness. We will now turn to spirit 
 varnish. . When this is used a diametrically opposite effect is 
 produced. The Violin is, as it were, wrapped in glass through 
 which the sound passes, imbued with the characteristics of the 
 varnish. The result is, that the resonance produced is metallic 
 and piercing, and well-calculated for common purposes ; if, 
 however, richness of tone be required, spirit-varnished instru- 
 ments cannot supply it. From these remarks the reader may . 
 
24 THE VIOLIN. 
 
 gather some notion of the vexed question of varnish in relation 
 to tone, and be left to form his own opinion. 
 
 The chief features of the Italian School of Violin makers 
 having been noticed, it only remains to be said that the follow- 
 ing list of these artistes is necessarily incomplete. This defect 
 arises chiefly from old forgeries. Labels used as the trade 
 marks of many deserving makers have from time to time been 
 removed from their lawful instruments in order that others 
 bearing a higher marketable value might be substituted. In 
 the subjoined list will be found all the great names, and every 
 care has been taken to render it as complete as possible. 
 
SECTION VI. 
 ITALIAN MAKERS. 
 
 PCEVO, Cremona, about 1640. School of Amati. Pupil 
 of Giuseppe Cappa. His workmanship is rough, and 
 the material which he used ill-selected. 
 
 ALBANESI, Sebastianus, Cremona, 1720 1744. The instru- 
 ments of this maker are now rarely met with. They were well 
 made. The pattern is bold and the model flat, and constructed 
 on principles which should render them of good tone. Although 
 made at Cremona, they do not properly belong to the school of 
 that place, but have the characteristics of the Milanese work- 
 manship. Their varnish is quite unlike that of the Cremonese. 
 
 ALBANI, Mathias Botzen, i7th century. (See German 
 makers.) 
 
 ALBANI, Paolo, Palermo, 1650 1680, made many excellent 
 instruments. He was one of the pupils of Nicholas Amati. 
 The pattern is broad, and the workmanship carefully executed. 
 
 ALETZIE, Paolo (Monaco, 1720 1736). His principal in- 
 struments are Violas and Violoncellos, many of which are 
 excellent. The former are mostly of large size. Varnish 
 wanting in mellowness. 
 
 ALVANI, Cremona. Imitator of Joseph Guarnerius, whom 
 he copied with considerable skill. 
 
 AMATI, Andrew, Cremona. The date of his birth is un- 
 known, but is supposed to have occurred about 1520. This 
 maker claims attention not so much on account of his instru- 
 ments as from the fact of his having founded the school of 
 Cremona. There is but little known of the early history of 
 Andrew Amati. It is said that he was descended from an 
 ancient family of Cremona, dating back to the eleventh century. 
 There is no direct evidence as to the name of the master from 
 whom he learnt the art of making stringed instruments. If his 
 work be carefully examined, it will appear that the only maker 
 to whose style it can be said to bear any resemblance is Gaspard 
 di Salo, and it is possible that the great Brescian may have 
 instructed him in his art. It is unfortunate that there are no 
 data for our guidance in the matter. These men, like their 
 brothers in art, the painters of olden times, began to live when 
 they were dead, and their history thus passed without record. 
 Andrew Amati may possibly have been self-taught, but there is 
 much in favour of the view given above on this point. His early 
 works are so Brescian in character as to cause them to be 
 
26 THE 1'IOLIN. 
 
 numbered with the productions of that school. For a general 
 designation of the instruments of this maker the following notes 
 may suffice. The work is carefully executed. The model is 
 high, and, in consequence, lacks power of tone ; but the Violins 
 possess a charming sweetness. The sound-hole is inelegant, 
 has not the decision of Gaspard di Salo, although belonging to 
 his style, and is usually broad. The instruments of Andrew 
 Amati are of various sizes, but the majority of them are small, 
 and thus admirably fitted for the use of young violinists. His 
 varnish may be described as deep golden, of good quality. 
 His method of cutting his material was not uniform, but he 
 seems to have had a preference for cutting his backs in slab 
 form, according to the example set for the most part by the 
 Brescian makers. The sides were also made in a similar man- 
 ner, the wood used being both sycamore and that known to 
 makers as pear-tree. The instruments of Andrew Amati are 
 now very scarce. Among the famous instruments of this 
 maker were twenty-four Violins (twelve large and twelve small 
 pattern), six Tenors, and eight Basses made for Charles IX., 
 which were kept in the Chapel Royal, Versailles, until October, 
 1790, when they disappeared. These were probably the finest 
 instruments by Andreas Amati. On the backs were painted 
 the arms of France and other devices, with the motto, "Pie/a/e 
 et Justitia." He died about 1580. 
 
 AMATI, Nicholas, Cremona, brother of Andrew. Very 
 little is known of this maker's instruments. The few met with 
 are inferior to those of Andrew. 
 
 AMATI, Antonius and Hieronymus, sons of Andrew Amati, 
 Cremona, 1570 1635. Anthony was born in 1550. The date 
 of Jerome's birth is unknown. These skilful makers worked 
 
 together for many years, and pro- 
 
 Antonius et Hieronymus Fr Amati duced some of the most charming 
 
 Cremonen Andrea fil F 1590 specimens of artistic work. To 
 them we are indebted for the first 
 
 form of the instrument known as ' ' Amatese. ' ' The early efforts 
 of the brothers Amati have many of the characteristics belong- 
 ing to the work of their father, Andrew ; their sound-hole is 
 similar to his, and in keeping with the Brescian form, and the 
 model which they at first adopted is higher than that of their 
 later and better instruments. 
 
 Although these makers placed their joint names in their 
 Violins, it must not be supposed that each bore a proportionate 
 part of the manufacture in every case ; on the contrary, there 
 are but few instances where such association is made manifest. 
 The style of each was quite distinct, and one was immeasurably 
 superior to the other. Antonius deviated but little from the 
 teaching of his father. The sound-holes even of his latest 
 instruments partake of the Brescian type, and the model is the 
 only particular in which it may be said that a step in advance is 
 
ITALIAN MAKERS. 27 
 
 traceable ; here he wisely adopted a flatter form. His work 
 throughout, as regards finish, is excellent. 
 
 Jerome Amati possessed in a high degree the attributes 
 of an artist. He was richly endowed with that rare power 
 originality. It is in his instruments that we discover the form 
 of sound-hole which Nicholas Amati improved, and after him, 
 the inimitable Stradiuarius perfected. Jerome Amati ignored 
 the pointed sound-hole and width in the middle portions 
 observable in his predecessor's Violins, and designed a model 
 of extremely elegant proportions. How graceful is the turn ot 
 the sound-hole at both the upper and lower sections ! With 
 what nicety and daintiness are the outer lines made to point to 
 the shapely curve ! Nicholas Amati certainly improved even 
 upon Jerome's achievements, but he did not add more grace ; 
 and the essential difference between the instruments of the two 
 is, that there is more vigour in the sound-hole of Nicholas than 
 in that of his father Jerome. 
 
 The purrling of the brothers Amati is very beautifully 
 executed. The scrolls differ very much, and in the earlier 
 instruments of these makers are of a type anterior to that of the 
 bodies. Further, the varnish on the earlier specimens is deeper 
 in colour than that found on the later ones, which have varnish 
 of a beautiful orange tint, sparingly laid on, and throwing up the 
 markings of the wood with much distinctness. The material 
 used by these makers and the mode of cutting it also varies 
 considerably. In some specimens we find that they used backs 
 of slab-form ; in others, backs worked whole ; in others, backs 
 divided into two segments. The belly-wood is in every case of 
 the finest description. The tone is far more powerful than that 
 of Andrew's instruments, and this increase of volume of sound 
 is obtained without any sacrifice of the richness of the quality. 
 Antony Amati died, it is supposed, in 1635, and Jerome in 1638. 
 
 AMATI, Nicholas, Cremona. Born September 3rd, 1596, 
 died August 1 2th, 1684. Son of Jerome Amati. It is gratifying 
 
 in the notice of this famous 
 
 Nicholas Amatus Cremonen Hieronymi Violin maker to be able at 
 
 Fil. acAntonij Nepos Fecit. 16 once to identify the dates 
 
 both of his birth and death. 
 
 Nicholas Amati was the greatest maker in his illustrious family, 
 and the finest of his instruments are second only to those of his 
 great pupil, Antonius Stradiuarius. His early efforts have all 
 the marks of genius upon them, and clearly show that he had 
 imbibed much of the taste of his father Jerome. He continued 
 for some time to follow the traditional pattern of the instru- 
 ments bearing the labels of Antonius and Hieronymus Amati, 
 and produced many Violins of small size, of which a large 
 number are still extant. He appears to have laboured assid- 
 uously during these early years, with a view of making himself 
 thoroughly acquainted with every portion of his art. We find 
 
28 THE VIOLIN. 
 
 several instances in which he has changed the chief principles 
 in construction, particularly such as relate to the arching and 
 thicknesses, and thereby shown the intention which he had 
 from the first of framing a new model entirely according to the 
 dictates of his own fancy. The experienced eye may trace the 
 successive steps taken in this direction by carefully examining 
 the instruments dating from about 1625 downwards. Prior to 
 1625 there is a peculiarly striking similarity in his work and 
 model to that of his father, but after this date we can watch the 
 gradual change of form and outline which culminated in the 
 production of those exquisite works of the art of Violin making 
 known as "grand Amatis" (a name which designates the grand 
 proportions of the instruments of this later date). It may be 
 said that the maker gained his great reputation from these 
 famous productions. They may be described as having an 
 outline of extreme elegance, in the details of which the most 
 artistic treatment is visible. The corners are drawn out to 
 points of singular fineness, and this gives them an appearance 
 of prominence which serves to throw beauty into the entire 
 work. The model is raised somewhat towards the centre, 
 dipping rather suddenly from the feet of the bridge towards the 
 outer edge, and forming a slight groove where the purfling is 
 reached, but not the exaggerated scoop which is commonly 
 seen in the instruments of the many copyists. This portion of 
 the design has formed the subject of considerable discussion 
 among the learned in the Violin world, the debateable points 
 being the appearance of this peculiarity, and its acoustic effect. 
 As regards the former question, the writer of these pages feels 
 convinced that the apparent irregularity is in perfect harmony 
 with the general outline of the great Amati's instrument, and 
 that it pleases the eye. From the acoustical point of view, it 
 may be conceded that it does not tend to increase of power, as 
 the sound is caused to lodge as it were ; but, on the other hand, 
 it is probable that the sweetness of tone so common to the 
 instruments of Nicholas Amati must be set to its credit ; for, in 
 proportion as the form is departed from, the sweetness is found 
 to decrease. The sound-hole has all the character of the pre- 
 ceding Amatis, together with increased boldness ; in fact, it is 
 a repetition of that of Jerome, with the exception of this differ- 
 ence. The sides are a shade deeper than that of the brothers 
 Amati. The scroll is exquisitely cut. Its outline is perhaps a 
 trifle contracted, and thus is robbed of the vigour which it would 
 otherwise possess. From this circumstance it differs from the 
 general tenour of the body, which is certainly of broad concep- 
 tion. The maker would seem to have been aware of this defect, 
 if we may judge from the difference of form given to his earlier 
 scrolls, as compared with those of a later date, in which he 
 seems to have attempted to secure increased boldness, as more 
 in keeping with the work of the body of the instrument. It 
 
ITALIAN MAKERS. 29 
 
 must be acknowledged, however, that these efforts did not 
 carry him far enough in this direction. The wood used by 
 Nicholas Amati for his grand instruments is of splendid quality 
 as regards acoustical requirements ; while, as regards appear- 
 ance also, it is unexceptionable. Some of his backs have a 
 wave-like form of great beauty, others have markings of great 
 regularity, giving to the instrument a highly finished appear- 
 ance. The bellies are of a soft, silken nature, and usually of 
 even grain. A few of them are of singular beauty, their grain 
 being of a mottled character, which, within its transparent coat 
 of varnish, flashes light here and there with strange force. 
 
 These, then, are the instruments which are so highly 
 esteemed, and which form one of the chief links in the Violin 
 family. The highest praise must be conceded to the originator 
 of a design which combines extreme elegance with utility ; and, 
 simple as the result may appear, the successful construction of 
 so graceful a whole must have been attended with rare ingenuity 
 and most persevering labour. 
 
 Here, again, is evidence of the master mind, never resting, 
 ever at work ; evidence, too, that mere elaboration of work 
 was not the ne plus ultra of the Cremonese makers. They 
 designed and created as they worked ; and their success, which 
 no succeeding age has aspired to rival, entitles them to rank 
 with the chief artists of the world. 
 
 On the form of the instrument known as the ' ' grand Amati, " 
 Antonius Stradiuarius exerted all the power of early years ; 
 and the fruits of his labours are, in point of finish, unsurpassed 
 by even his later works. Where Nicholas Amati failed, 
 Stradiuarius conquered ; and particularly is this victory to be 
 seen in the scrolls of his instruments during the first period, 
 which are masterpieces in themselves. How bold is the con- 
 ception, how delicate the workmanship, what a marvel of 
 perfection the sound-hole ! But as these Violins are noticed 
 under the head of "Stradiuarius," it is unnecessary to enter 
 into details here. Besides Stradiuarius, many makers of less 
 importance followed the " grand Amati " pattern, among whom 
 may be mentioned Jacobs, of Amsterdam, who takes a promi- 
 nent place as a copyist. The truthfulness of these copies, as 
 regards the chief portions of the instrument, is singularly 
 striking, so much so, indeed, as to cause them to be frequently 
 mistaken for the original by those who are not deeply versed 
 in the matter. The points of failure in these imitations may be 
 cited as the scroll and sound-hole. The former lacks ease, and 
 seems to defy its author to hide his nationality. The scroll has 
 ever proved the most troublesome portion of the Violin to the 
 imitator. It is here, if anywhere, that he must drop the mask 
 and show his individuality, and this is remarkably the case in 
 the instance above-mentioned. A further difference between 
 Amati and Jacobs lies in the circumstance that the latter invari- 
 
jo Till-: 1'IOLIN. 
 
 ably used a purfling of whalebone. Another copyist of Amati 
 was Grancino. As the varnish which he used was of a different 
 nature from that of his original, his power of imitation must 
 be considered to be inferior to that of some others. Numer- 
 ous German makers, whose names will be found under the 
 "German School," were also liege subjects of Amati, and 
 copied him with much exactness ; so also, last, but not least, 
 our own countrymen, Forster, Banks, and Samuel Gilkes. 
 
 AMATI, Hieronymus, Cremona, 1650 to 1673. Son of 
 Nicholas. His instruments are scarce, and do not resemble 
 those of Nicholas, or, indeed, of the Amati family, except in the 
 sound-hole. The head is quite distinct from the Amati type, 
 being larger, and wanting in grace. The length of these instru- 
 ments is generally lessened in the lower portion. The varnish 
 is inferior, and shows unmistakeable signs of decadence. With 
 this maker closes the great family of Amatis as Violin makers, 
 dating from 1520 to about 1673. 
 
 AMBROGI, Pietro, Rome, 1730. Average merit. Somewhat 
 resembles Balestrieri. The head leans to the German character. 
 
 ANSELMO, Cremona, 1701. The instruments of this maker 
 partake of the Rugerius type. The varnish is very rich in colour 
 and possesses considerable body. Scarce. There are two very 
 excellent Violoncellos by Anselmo in England. 
 
 ASSALONE, Gaspard, Rome. The model is high and the 
 workmanship rough ; the varnish yellow, without much body. 
 
 BAGATELLA, Padua, i8th century. Made both Violins and 
 Violoncellos, a few of which have points of merit. He wrote 
 a pamphlet on a method of constructing Violins by means of a 
 graduated perpendicular line similar to Wettengels ; but no 
 benefit has been derived from it. 
 
 BALESTRIERI, Peter, Cremona. Scarce. 
 
 BALESTRIERI, Thomas, middle of the i8th century. Said 
 to have been a pupil of Stradiuarius, which is probable. The 
 
 instruments of Balestrieri may be 
 
 Thomas Balestrieri Cremonensis likened to those of Stradiuarius 
 
 Fecit Mantua:. Anno 17 which were made during the last 
 
 few years of his life, 1730 1737. 
 
 The form of both is similar, and the ruggedness observable in 
 the latter instruments is found, but in a more marked degree, 
 in those of Balestrieri. These remarks, however, must not 
 be considered to suggest that comparison can fairly be made 
 between these two makers in point of merit, but merely to point 
 out a general rough resemblance in the character of their works. 
 The absence of finish in the instruments of Thomas Balestrieri 
 is in a measure compensated by the presence of a style full of 
 vigour. The wood which he used varies very much. A few 
 Violins are handsome but the majority are decidedly plain. 
 The bellies were evidently selected with judgment, and have 
 the necessary qualities for the production of good tone. The 
 
ITALIAN MAKERS. 31 
 
 varnish seems to have been of two kinds, one resembling that 
 of Guadagnini, the other, softer and rich in colour. The tone 
 maybe described as large and very telling, and when the instru- 
 ment has had much use there is a richness not by any means 
 common. It is singular that these instruments are more valued 
 in Italy than they are either in England or France. They are, 
 however, fast rising in the estimation of competent judges in 
 the last-mentioned countries, not so much from an artistic point 
 of view as from their peculiarly telling qualities. 
 
 Thomas Balestrieri made mostly Violins and Tenors ; the 
 latter of excellent proportions, and highly valued by artistes. 
 
 BELLOSIO, Venice, i8th centuiy. Similar to Sanctus 
 Seraphino in pattern, but the workmanship very inferior. 
 
 BENTE, Matteo, Brescia, latter portion of the i6th century. 
 Style of Gaspard di Salo. 
 
 BERGONZI, Carlo, Cremona, 1718 1755. Pupil of Antonius 
 
 Stradiuarius. That he was educated in Violin making by the 
 
 greatest master of his art is evidenced 
 
 Anno 17 Carlo Bergonzi. beyond doubt. In his instruments may 
 fece in Cremona. be clearly traced the teachings of Stra- 
 diuarius. The model, the thicknesses, 
 
 and the scroll, together with the general treatment, all agree in 
 betokening that master's influence. Joseph Guainerius del 
 Jesu here stands in strong contrast with Bergonzi. All writers 
 on the subject of Violins assume that Guarnerius was instructed 
 by Stradiuarius, a statement based upon no reasons (for none 
 have ever been adduced), and apparently a mere repetition of 
 some one's first guess or error. As before remarked, Carlo 
 Bergonzi, in his work, and in the way in which he carries out 
 his ideas, satisfactorily shows the source whence his early 
 instructions were derived, and may be said to have inscribed 
 the name of his great master, not in print, but in the entire 
 body of every instrument which he made. This cannot be said 
 of Joseph Guarnerius. On the contrary, there is not a point 
 throughout his work that can be said to bear any resemblance 
 to the sign manual of Stradiuarius. As this interesting sub- 
 ject is considered at length in the notice of Joseph Guarnerius, 
 it is unnecessary to make further comment in this place. 
 
 The instruments of Carlo Bergonzi are justly celebrated 
 for both beauty of form and tone, and are rapidly gaining 
 the appreciation of artistes and amateurs. Commercially, no 
 instruments have risen more rapidly than those of this maker ; 
 their value has increased within the past twenty years fourfold, 
 more particularly in England, where their merits were earliest 
 acknowledged, a fact which certainly reflects much credit upon 
 our connoisseurs. In France they had a good character years 
 ago, and have been gaining rapidly upon their old reputation, and 
 now our neighbours regard them with as much favour as 
 we do. 
 
32 THE VIOLIN. 
 
 They possess tones of rare quality, are for the most part 
 extremely handsome, and, last and most important of all, 
 their massive construction has helped them by fair usage and 
 age to become instruments of the first order. The model of 
 Bergonzi's Violins is flat, and the outline of his early efforts is 
 of the Stradiuarius type ; but later in life, he, in common with 
 other great Italian makers, marked out a pattern for himself 
 from which to construct. The essential difference between 
 these two forms lies in the angularity of the latter. It would 
 be very difficult to describe accurately the several points of 
 deviation unless the reader could handle the specimens for 
 himself and have ocular demonstration ; the upper portion from 
 the curve of the centre bouts is increased, and, in consequence, 
 the sound-holes are placed slightly lower than in the Stradiuarian 
 type. Bergonzi was peculiar in this arrangement, and he seldom 
 deviated from it. Again, increased breadth is given to the 
 lower portion of the instrument, and in consequence the centre 
 bouts are set at a greater angle than is customary. The sound- 
 hole may be described as an adaptation of the characteristics 
 of both Stradiuarius and Guarnerius, inclining certainly more 
 to those of the former. As a further peculiarity, it is to be 
 noticed that the sound-holes are set nearer the edge than is 
 the case in the instruments of either of the makers named. 
 Taken as a whole, Bergonzi's design is rich in artistic feeling, 
 and one which he succeeded in treating with the utmost skill. 
 
 Carlo Bergonzi furnishes us with another example of the 
 extensive research with which the great Cremonese makers 
 pursued their art, and a refutation of the common assertion 
 that these men worked and formed by accident rather than 
 by judgment. The differences of the two makers mentioned 
 above as regards form are certainly too wide to be explained 
 away as a matter of mere accident. It is further necessary to 
 take into consideration the kind of tone belonging to these 
 instruments respectively. If Bergonzi's instruments be com- 
 pared with those of his master, Stradiuarius, or of Guarnerius 
 del Jesu, the appreciable difference to be found will amount to 
 this, that in Bergonzi's instruments there is ajust and exact com- 
 bination of the qualities of both the other two makers named. 
 Is it not, therefore, reasonable to conclude that Carlo Bergonzi 
 was fully alive to the merits of both Stradiuarius and Guarnerius, 
 and deliberately set himself to construct a model that should 
 embrace in a measure the chief characteristics of both of 
 them ? 
 
 The scroll is deserving of particular attention. It is quite in 
 keeping with the body of the instrument, and has been cut with 
 a decision of purpose that could only have been possessed by a 
 master. It is flatter than usual, if we trace it from the cheek 
 towards the turn, and is strikingly bold. Here, again, is the 
 portrait of the character of the maker. Although by a pupil of 
 
ITALIAN MAKERS. jj 
 
 Antonius Stradiuarius, the scroll is thoroughly distinct from any 
 known production of that maker it lacks the fine finish and 
 exact proportion ; but, on the other hand, it has an originality 
 about it which is quite refreshing. The prominent feature is the 
 ear of the scroll, which being made to stand forth in bold relief 
 gives it a broad appearance when looked at from the front. 
 
 The work of Bergonzi, as has been the case with many of 
 his class, has been attributed to others. Many of his instru- 
 ments are dubbed "Joseph Guarnerius" by the inexperienced ; 
 a mistake in identification which arises chiefly from the form of 
 the sound-hole at the upper and lower portions. There is little 
 else that can be considered as bearing any resemblance what- 
 ever to the work of Guarnerius, and even in this case the 
 resemblance is very slight. Bergonzi's outline is totally differ- 
 ent from that of Guarnerius, and is so distinct and telling that 
 it is sure to impress the eye of the experienced when first seen. 
 
 The varnish of Bergonzi is often fully as resplendent as that 
 of Joseph Guarnerius or Stradiuarius, and shows him to have 
 been initiated in the mysteries of its manufacture. It is some- 
 times seen to be extremely thick, at other times but sparingly 
 laid on ; often of a deep, rich red colour, sometimes of a pale 
 red, and again, of rich amber, so that the variation of colour to 
 be met with in Bergonzi's Violins is considerable. We must 
 concede that his method of varnishing was scarcely so pains- 
 taking as that of his fellow- workers, if we judge from the clots 
 here and there, particularly on the deep-coloured instruments ; 
 but, nevertheless, now that age has toned down the varnish, 
 the effect is good. It is interesting to know that Carlo Bergonzi 
 succeeded to the house and connection of his master, Stradi- 
 uarius, upon the death of the latter's two sons, Homobono and 
 Franciscus Stradiuarius, and that the family of Bergonzi resided 
 in the now famous house to within a very recent date. 
 
 BERGONZI, Nicholas, Cremona. Son of Carlo; succeeded 
 him in his business. He made a great number of Violins of 
 similar form to those of his father. The wood which he selected 
 was of a close nature and hard appearance. The varnish is not 
 equal to that of Carlo ; it is thin and cold-looking. The work- 
 manship is very good, being often highly-finished ; but yet, 
 what is wanting is character. The scroll is cramped, and 
 scarcely of the Cremonese type. His thicknesses vary. 
 
 BERGONZI, Michael Angelo, Cremona, 1720 1760. Brother 
 Michel Angelo Bergonzi of Nicholas. The pattern is large, and 
 Figlio di Carlo fece in partakes of the character of Stradiuarius' 
 
 Cremona 1'Anno 17 instruments. 
 
 BERGONZI, Cremona, died in 1838. Said to have been the 
 son of Michael Angelo, from whom Tarisio learned little points 
 of interest concerning Stradiuarius and his contemporaries. 
 
 BORELLI, Andreas, Parma, 1735. His instruments are little 
 known ; they resemble those of Giuseppe Guadagnini. 
 
.,V THE VIOLIV. 
 
 BUDIANI, Javietta, Brescia, i6th century. Numbers of the 
 instruments of this maker have been attributed to Magini, 
 from their double purfling and similarity of construction. It 
 is a common practice to call all double-purfled instruments 
 "Magini," and all those purfled with whalebone "Jacobs." 
 
 CAMILAS, Camile de, Mantua, 1714. 
 
 CAPPA, Giofreda, Cremona, 1590 1640. Pupil of Antonius 
 and Jerome Amati. Cappa worked during his early years at 
 
 Cremona. After gaining some 
 TOFREDVS CAPPA FECIT celebrity as a maker, he removed 
 
 SALVTIIS ANNO 16 to Piedmont, possibly, that he 
 
 might have greater scope for the 
 
 exercise of his talents, it being, no doubt, difficult for him to 
 obtain any important patronage, surrounded as he was at 
 Cremona by so many famous men engaged in the same occu- 
 pation as himself. 
 
 The instruments of Cappa are, even now, little known in 
 England, and twenty years since were recognized only by the 
 most intelligent connoisseurs. The greater number of thtm 
 consist of works of high merit, and, although not prized at 
 present, must ultimately command prices proportionate to their 
 real value. Their likeness to the instruments of the Amatis is 
 in some instances peculiarly striking, but in others there is a 
 marked dissimilarity. Particularly this is the case in the form 
 of the sound-hole and scroll. The sound-hole is sometimes 
 large, and quite out of keeping with the elegant outline of 
 Amati. The points of difference may be summed up as follows : 
 ttie sound-hole is larger, and more obliquely set in the instru- 
 ment ; the upper portion of the body has a more contracted 
 appearance ; the head, as is the case with most makers, differs 
 most, and, in this instance in no way resembles Amati. 
 
 There are few specimens of Cappa that bear their original 
 labels, most of them are counterfeit "Amatis," and hence the 
 great confusion which has arisen, particularly among the half- 
 informed, concerning their parentage. They are of two pat- 
 terns, one larger than the other. The large one is, of course, 
 the more valuable ; it is flatter, and altogether better finished. 
 The Violoncellos of Cappa are among the best of the second- 
 class Italian instruments, and are well worthy the attention of 
 the professor and amateur. The varnish is frequently of very 
 rich quality, its colour resembling that of Amati. The wood is 
 also similar to that used by Amati. The backs are whole or in 
 two parts, seldom cut on the cross. 
 
 CASSINO, Antonius, Modena. 
 
 CASTRO, Venice, 1680 1720. The wood is of good figure 
 generally. Outline is not good ; the middle bouts are too long 
 to be proportionate. Sound-hole roughly worked. Varnish 
 red, the quality of which is scarcely up to the Venetian 
 standard. 
 
ITALIAN MAKERS. 35 
 
 CELIONATUS, Johannes, Taurini, 1734. Amati school. 
 Yellow varnish. Good workmanship. 
 
 CHERUTTI, Cremona, now living. This maker is deserv- 
 ing of notice, forming, as he does, the last link of the long 
 chain of Cremonese makers. He has made several instru- 
 ments, some of which were exhibited at the International 
 Exhibition, 1862, and which are of the Amati pattern. 
 
 CHRISTOPHORI, Bartolomeo, Florence, 1760. 
 
 CIRCAPA, Thomaso, Naples, 1730. Resembles Gagliano. 
 
 CoNTRERAsJoseph, Madrid, 1745. This being one of the few 
 Spanish makers, his name is placed with the Italian, the number 
 of the Spanish being insufficient for a separate list. The model 
 of this maker is very good, and the workmanship superior. He 
 probably lived in Italy during his early life, the style being Italian. 
 
 COSTA, Pietro della, Treviso, 1660 1700. Scarce. 
 
 DARDELLI, Pietro, Mantua, 1500. Maker of Viols, a few 
 of which are to be found in the cabinets of the curious. 
 
 DOMINICELLI, Ferrara, i8th century. 
 
 DUIFFOPRUGCAR, Gaspard, Bologna. This maker settled 
 in Bologna during the early part of the i6th century. Very 
 little is known of him. He has been put forth as the first maker 
 of the Violin ; but the writer of these pages quite agrees with 
 Mr. Charles Reade that Duiffoprugcar, together with Kerlino 
 and Dardelli, were makers of Viols, not of Violins. In one of 
 the excellent articles contributed by Mr. Reade in 1872 to the 
 Pall Mall Gazette, he remarks : "The first known maker of 
 the true Tenor, and probably of the Violin, was Gasparo da 
 Salo. The student who has read the valuable work put forth 
 by Monsieur Fetis and Monsieur Vuillaume might imagine that 
 I am contradicting them here, for they quote as ' luthiers * 
 antecedent to Gasparo da Salo, Kerlino, Duiffoprugcar, Lin- 
 arolli, Dardelli, and others. These men, I grant you, worked 
 long before Gasparo da Salo ; I even offer you an independent 
 proof, and a very simple one I find that their genuine tickets 
 are in Gothic letters, whereas those of Gasparo da Salo are in 
 Roman type. But I know the works of those makers, and they 
 did not make Tenors nor Violins. They made instruments of 
 of the older family, Viole d'Amore, da Gamba, &c. Their true 
 tickets are all black-letter tickets, and not one such ticket exists 
 in any old Violin nor in a single Tenor." The case is stated 
 in Mr. Reade's peculiarly clear and decisive manner, and he has 
 left no loophole for his antagonist's escape. Any instrument of 
 a mongrel kind, having a carved head and uncouth workman- 
 ship, and in size something between a Tenor and a Violin, has 
 been, as a matter of course, fathered upon these old Viol 
 makers. From an artistic point of view, it is of no consequence 
 to ascertain who made these old fossils, their merits being of 
 the slenderest kind ; it is only historically that any interest can 
 attach to them. 
 
36 THE VIOLIN. 
 
 y^EBERTi, Tomasso, 1750. 
 
 FALCO, Cremona, 1752. Average merit. 
 
 FARINATO, Paul, Venice, 1695 1725. 
 
 PICKER, Johann Christian, Cremona, middle of the i8th 
 century. Although dating from Cremona, has nothing in 
 common with Cremonese work. 
 
 FIORILLO, Giovanni, Ferrara, 1780. The style is a mixture 
 of German and Italian, the former preponderating. The sound- 
 hole in imitation of Stainer. His Violoncellos are among his 
 best instruments. 
 
 FLORENTUS, Florinus, Bologna, 1685. 
 
 GABRIELLI, Giovanni, Baptista, Florence, about the middle 
 
 of the iSth century. The instruments of Gabrielli are now 
 
 becoming better known and appreci- 
 
 Johannes Baptista di Gabrielli ated. They bear evident marks of 
 
 Florentine Fecit 17 having been made with extreme care. 
 
 The model, unfortunately, is often 
 
 not all that could be desired, being too rounded. When this is 
 not the case, the tone is excellent. The flat instruments of this 
 maker partake of the tone of Gagliano. The wood is mostly 
 very handsome, and the sides and backs evenly marked. The 
 varnish is wanting in mellowness, but is very transparent, its 
 colour usually being yellow. The Tenors and Violoncellos are 
 superior to the Violins. The scroll is neatly cut, but weak in 
 design. 
 
 GAETANO, Paisto, Brescia, 1700. Good work. Model a 
 little high. Varnish of soft quality. 
 
 GAETANO, Antoniazzo, Cremona, 1760. The work is very 
 passable, but the form is entirely at fault. The sound-holes are 
 not in their proper position. 
 
 GAGLIANO, Alessandrc, Naples, 1695 1730. Pupil of 
 Antonius Stradiuarius. The family of the Gagliano played no 
 
 unimportant part in the art of 
 Alexandro Gagliano Alumnus Italian Violin making. It com- 
 
 Stradivarius fecit Neapoli anno 1725 mences with AleSSandrO, wllO 
 
 imitated his master as regards 
 
 the form which he gave to his instruments. Alessandro 
 Gagliano upon leaving the workshop of Stradiuarius removed 
 to Naples, a city which afforded him greater scope for the 
 exercise of his talents than Cremona. With others, he felt that 
 his chance of success was very small if he remained on ground 
 occupied by the greatest luminaries of his art. His labours at 
 Naples seem to have been so well rewarded that he caused his 
 sons to follow his calling. There is evidence of their having 
 enjoyed what may be termed a monopoly of the Violin manu- 
 facture in and around Naples, there being no record of another 
 maker of importance 'in that locality at the same period. To 
 the Gagliam we are indebted for the Neapolitan . school. 
 Although in its productions we miss the lustrous varnish and 
 
ITALIAN MAKERS. 37 
 
 handsome wood of Cremona, Naples has furnished us with 
 numbers of instruments of great use. 
 
 The works of Alessandro Gagliano are mostly of large 
 pattern and flat model. If we compare them with those of his 
 master, the resemblance is not so great as might be expected 
 if it be remembered that they are copies, and not original 
 works. The sound-holes are broader and more perpendicular 
 than those of Stradiuarius. The scroll is diminutive, and the 
 turn much contracted, and of a somewhat mean appearance. 
 The workmanship of this item is roughly executed, and points 
 to the conclusion that Alessandro Gagliano was not gifted with 
 the power of head cutting. The character of Gagliano's Violins 
 reminds us of those by Stradiuarius made between 1725 and 
 1730; and doubtless it was those instruments which this artist 
 chiefly copied. 
 
 The wood used for the backs was generally of a tough 
 nature ; the back and sides are often marked with a broad curl. 
 The bellies are of wide and even grain, and very resonant. 
 The varnish is quite distinct from that of Cremona ; it is very 
 transparent, and of various shades, chiefly yellow. 
 
 GAGLIANO, Nicholas, Naples. Son of Alessandro. His 
 Violins and Violoncellos were made with great care, and show 
 that he possessed some amount of originality. They were not 
 after the pattern of his father's instruments. They are narrower 
 than these, and similar to those earlier works of Stradiuarius 
 which come between the true " Amatese " and the long form. 
 The varnish is of a deeper colour than that of Alessandro' s, and 
 its quality is not inferior. The scroll is well formed, and is, there- 
 fore, superior to that of his father's. The model is a little high. 
 
 GAGLIANO, Ferdinandus, Naples, 1700 to 1735. Brother of 
 ,, ,. .,. Nicholas. His work is similar to 
 
 Ferd.nandusGaghanoFd.us Alessandro. The Viobn- 
 
 NfcoUi fecit Neap. ,762. ce i los are excellent instruments. 
 
 GAGLIANO, Januarius, Naples, about 1740. 
 
 GAGLIANO, Ferdinandus, Naples. Son of Nicholas. 
 
 GAGLIANO, Giuseppe, Naples, 1780. Son of Ferdinandus. 
 
 GAGLIANO, Giovanni, ~\ 
 
 GAGLIANO, Antonio, > Naples. These makers bring the 
 
 GAGLIANO, Raphael, J 
 
 family down to a very recent date as residents in Naples. The 
 merit of belonging to them is of the slightest kind. Many of 
 our English provincial makers have shown themselves superior. 
 The family of the Gagliani, as Violin makers, was the most 
 numerous that the world has seen. The families of fiddle 
 makers share the fate of nations. The days of greatness are 
 followed by those of decline. 
 
 GALERZENA, Piedmont. Little is known of this maker. 
 
 GARANI, Michael Angelo, Bologna, 17001720. Has made 
 a few Violas of good quality. 
 
j8 THE VIOLIN. 
 
 GARANI, Nicolo, Naples. Gagliano type. 
 
 GATTANANI, Piedmont, 1785. No particular value. 
 
 GIORDANE. 
 
 GOHETTI, Franciscus (sometimes called Cobit], Venice, 
 1690 1715. This is one of the little known makers, a fact 
 which may be attributed to the practice 
 Franciscus Gobetti common some years ago of removing the 
 Fecit Venetiis 1705 original label of an instrument and substitut- 
 ing another bearing a name more likely from 
 its familiarity to command attention. 
 
 When we see Violins bearing the stamp of genius upon 
 them, and reflecting much credit on the maker, the lovers of 
 the instrument cannot but regret that the author should have 
 been eclipsed, and deprived of his just praise. 
 
 Had the name of Gobit been permitted to associate itself 
 with the instruments into which it was originally placed, they 
 would have been as highly valued as any belonging to the 
 Venetian school, with the single exception of Domenicus Mon- 
 tagnana. The admirers of that finished maker, Sanctus Sera- 
 phino, may perhaps dispute the justice of this observation, but, 
 having carefully weighed the merits of both Sanctus Seraphino 
 and Gobit, I have no hesitation in awarding to the latter the 
 foremost place. Gobit's style is superior, being more Cremo- 
 nese than Venetian ; and further, his model is preferable. 
 
 Gobit has been considered to have been a pupil of Anto- 
 nius Stradiuarius, possibly with some reason, for his instruments 
 bear a similarity to the early works of the great master. The 
 instruments of this maker, like those of many others of his 
 class, have passed for the works of Rugerius, and sometimes 
 of Amati. There is a slight likeness about the sound-hole 
 to the work of Franciscus Rugerius; but to the skilled in 
 such matters, no feature interchangeable with Amati can be 
 detected. 
 
 The workmanship has a uniformly neat execution ; the 
 scroll is the least successful part, being weak in character as 
 compared with the body. The varnish is equal to any belong- 
 ing to the Venetian school, and its beauty is second only to 
 that of Cremona ; its colour is generally a pale red, of con- 
 siderable transparency. The wood is most handsome. These 
 Venetians were not a little happy in selecting beautiful wood ; 
 in fact, it is scarcely possible to discover a single Venetian 
 instrument the wood of which is plain. The tone of Gobit's 
 works is round, without great power ; but the quality is 
 singularly sweet. Ere long these instruments will command 
 more attention. 
 
 GOFRILLER, Matteo, Venice, 1700. Although this maker 
 worked in one of the principal schools, there is but little of the 
 Italian character in his instruments. The varnish is of the 
 poorest kind. 
 
GIOVANNI I'AOLO MAGL;INI VIOLIN. 
 
ITALIAN MAKERS. 39 
 
 GOFRILLER, Francisco, Venice. Same period as the 
 above-named, and of similar character. 
 GRAGNANI, Antonius, Liburni, 1780. 
 
 Antonius Gragnani, fecit 
 Liburni, Anno 1780. 
 
 GRANCINO, Paolo, Milan, 1665 1692. Pupil of Nicholas 
 Amati. The Grancini family, as makers of Violins, commence 
 with this maker, and occupy a similar position, as followers of 
 the Amati pattern, to that of the Gaglianos as imitators of 
 Stradiuarius. Paul Grancino was one of the favourite pupils 
 of Nicholas Amati, and evidently strove to profit by the instruc- 
 tions he received. There is noticeable in his instruments that 
 gradual development of ideas which is always associated with 
 the true artiste. His early works bear the stamp of the mere 
 copyist ; later on the borrowed plumes are less apparent, the 
 dictates of his own fancy are discoverable, but never to such 
 an extent as to permit him to be classed with Stradiuarius, 
 Bergonzi, and Guarnerius, as striking out into entirely untrod- 
 den paths. 
 
 His Violoncellos are particularly fine instruments ; his 
 Violas also are worthy of notice. The wood he used was 
 varied, but is, for the most part, plain. It is curious to observe 
 how various centres of Violin making ran upon different quali- 
 ties of wood. In Venice the handsomest wood was used, in 
 Milan and Naples the plainest. The commercial importance of 
 Venice would, of course, draw to it the largest selection of 
 wood, and thus permit the second and third rate makers to use 
 it, and at the same rate, probably, that a less handsome mate- 
 rial would cost the makers of cities further off. The scroll of 
 Paul Grancino has a very decisive character ; it is quite distinct 
 from that of the Amatis. From the ear of the scroll the turn 
 is rapidly made, and has an elongated appearance. His best 
 Violoncellos surpass those of Amati in volume of tone, and the 
 quality is often equally rich. 
 
 GRANCINO, Giovanni, Milan, 1694 1720. Son of Paolo. 
 The workmanship is smooth and 
 
 Giouanni Grancino in Contrada the form good. The material of his 
 
 Largha di MUano al segno instruments is of a better nature 
 della Corona 16 than that used by his father. The 
 
 model is slightly flatter. The tone 
 is powerful. Varnish mostly yellow. 
 
 GRANCINO, Giovanni Baptista, Milan, 1690. Brother of 
 Giovanni mentioned above. Similar characteristics. 
 
 GRANCINO, Francisco. Son of Giovanni Baptista. Here 
 we have the same falling off as in the case of the Gaglianos, a 
 family beginning with artistes and ending with common work- 
 men. 
 
 GUADAGNINI, Lorenzo, Cremona, 1695 1735. The name 
 of Guadagnini carries with it considerable weight, and their 
 
40 THE VIOLIN, 
 
 instruments are rapidly increasing 
 
 Lorenzo Guadagnini in value. No matter to which of 
 
 Cremona: Alumnus Stradiuarius the Guadagnini the instrument may 
 
 Fecit Anno Domini 17 owe its origin ; if it bears the name 
 
 of these makers importance is 
 
 attached to it, often without due regard to the merits of the 
 particular specimen. The later members of the family have 
 thus received attention measured by the excellence of the works 
 of their forefathers. That this should be so to a certain extent 
 can scarcely excite surprise, nor is it singular in the Italian 
 branch of the art. The great makers of the Guadagnini family 
 were Lorenzo and Johannes Baptista. The former has been 
 considered the chief maker, but if the merits of each be duly 
 weighed, they will be found to be nearly equal. It is probable 
 that Lorenzo has been looked upon as the principal maker, 
 from the association of his name with that of Stradiuarius, a 
 fact which, it must be granted, lends to his name a degree of 
 importance. 
 
 The instruments of Lorenzo are exceedingly bold in design, 
 and differ in this respect from those of Johannes Baptista, which 
 retain much of the delicate form of Stradiuarius. Lorenzo 
 frequently changed the style of his sound-hole, giving it the 
 pointed character of Joseph Guarnerius in some instances, and 
 sometimes retaining the type of sound-hole perfected by his 
 master. The model is inclined to flatness, the declivity being 
 of the gentlest kind : the breadth of the design commands 
 admiration. The scroll is certainly not an imitation of that of 
 Stradiuarius ; it has considerable originality, and is more 
 attractive on that account than for its beauty. T he varnish is 
 not so brilliant as that of Johannes Baptista, but possesses a 
 mellowness foreign to the other members of the family. The 
 tone is powerful, tempered with a rich quality. The works of 
 this maker are rare, and eagerly sought for in England. 
 
 GUADAGNINI, Johannes Baptista, Placentia, 1710 1750. 
 His relationship to Lorenzo has never been stated, but it is 
 
 probable that they were brothers. 
 
 Johannes Baptista Guadagnini pla- Lorenzo has always been regarded 
 
 centinus fecit Medioiani 1755. as the only pupil of Stradiuarius 
 
 in the Guadagnini family ; but if 
 
 their respective works be closely examined, it will be found 
 that those of Johannes Baptista more closely resemble the 
 instruments of Stradiuarius than even those of Lorenzo, and 
 one is thus led to the conclusion that Johannes Baptista was 
 also a pupil of Stradiuarius. It is quite evident that he con- 
 sidered the model of Stradiuarius as that to be followed, and 
 he does not appear to have changed his views on this point at 
 any time, all his works being in accordance with the teachings 
 of the great master. 
 
 Johannes Baptista was particularly happy in the selection 
 
ITALIAN MAKERS. 41 
 
 of his wood, it being invariably of the handsomest nature. 
 The backs of his instruments are generally found to be divided, 
 the markings of the wood being very regular ; the bellies are 
 of wood well chosen for tone, the varnish very transparent, and 
 of a brilliant colour. The scroll may be described to be a 
 rough imitation of that of Stradiuarius, and to partake generally 
 of the character of the Stradiuarian scroll from the date of 1728. 
 The English possess some of the finest specimens of this maker, 
 and were probably the first to recognise their sterling merits. 
 
 GUADAGXINI, Milan, 1740 1770. 
 
 GUADAGNINI, Giovanni Battista, Piacenza, 1754 1785. 
 The instruments of this maker are frequently equal to those of 
 Johannes Baptista. His wood is also excellent. 
 
 GUADAGNINI, Giuseppe, Parma, 1760 1800. Brother of 
 G. B. Guadagnini. Very good wood ; model a trifle more 
 raised than in the instruments of his brother ; sound-hole well 
 cut, in imitation of Stradiuarius. 
 
 GUADAGNINI, Turin, 1768. 
 
 GUARNERIUS, Andreas, Cremona, 1630 1695. The name 
 of Guarnerius is probably known to every possessor of a Violin 
 
 throughout the world. The fami- 
 
 Andreas Guarnerius Cremona; sub- liar Style is attached to SCOreS of 
 
 titulo Sanaa: Teresiae 16 copies and non-copies every week 
 
 and despatched to every quarter 
 
 of the globe. Little did Andrea imagine that he was destined 
 to be the means of lifting his patronymic of Guarnerius to such 
 a giddy height ! 
 
 Andreas Guarnerius, like Andrew Ainati, was the pioneer 
 of the family, and but for his influence we might never have 
 had the extraordinary works of his nephew, Joseph. How full 
 of interest would the smallest events of Andrea's workshop 
 life prove if we could only ascertain them ! We know as a fact 
 that in early years Andreas Guarnerius was working at the side 
 of Stradiuarius in the shop of his master, Nicholas Amati. 
 With what delight would any record, or even anecdote, of 
 those golden days in the history of the Violin be received by 
 the lovers of the instrument. The bare idea that these three 
 men, unapproachable in their art, were living in daily close 
 converse is sufficient to awaken interest of a lively nature in the 
 mind of the lover of fiddles. Unhappily, however, no chronicler 
 was at hand to dot down events, of small value when passing, 
 but of great consequence to after time. 
 
 Andreas Guarnerius for some years worked upon the 
 model of his master, though he afterwards changed the char- 
 acter of the sound-hole. At the same time the form of the 
 instrument became flatter, and the scroll showed signs ot 
 originality. The varnish is much varied, but is generally of a 
 light orange colour of beautiful hue ; it sometimes has a con- 
 siderable body, but when so, lacks the transparency of light- 
 
42 THE VIOLIN. 
 
 coloured varnishes. The Violoncellos are of two sixes, a 
 common arrangement of the Cremonese makers. The wood 
 in the Violoncellos is mostly very plain, but possesses singular 
 tone-producing qualities. The Violins are of average size, and 
 are among the finest efforts of this maker. The Violins are 
 chiefly of the same size as those of Nicholas Amati. The 
 workmanship is excellent, but has not the fine finish of 
 Amati. 
 
 GUARNERIUS, Joseph, son of Andrea, 1680 1730. This 
 maker possessed a greater amount of originality than Andrea. 
 
 His earliest works evidence that 
 
 Joseph Guarnerius filius Andrese fecit power of thinking for himself 
 Cremonaesub tituloS. Teresiae 16 which, later, led him to COn- 
 
 struct instruments entirely dis- 
 tinct from those of his father. The outline is particularly strik- 
 ing. The waist of the instrument is narrowed, rapidly widen- 
 ing, however, from the centre. The result is a curve of much 
 elegance, one of the points which Joseph Guarnerius del Jesu 
 appears to have admired, as he adopted and perfected it. It is 
 here, more particularly, that a resemblance between this maker 
 and his famous kinsmen is to be traced. There are also further 
 strong parallelisms, which will furnish matter for comment in 
 their proper place. To return to the form given to the instru- 
 ments of Guarnerius, the son of Andrea : the sound-hole has a 
 singular comomation of the Amati and the Guarnerius in its 
 conception. We have here a reappearance of the pointed form 
 which originated with the grand old Brescian master, Gaspard 
 di Salo, and was left by him to be revived and perfected by his 
 followers. Andrea's son, in adopting this long-neglected form, 
 showed much judgment. It must be admitted that he improved 
 upon it, and left his cousin, Guarnerius del Jesu, an easy task 
 in completing' and perfecting it. 
 
 The method of this maker with regard to the setting of tl < 
 sound-holes in his instruments is peculiar. In his plan it is set 
 in a lower position than is customary. Carlo Bergonzi followed 
 him in this particular, and also in placing the hole a trifle nearer 
 the edge of the instrument than in the general run of instru- 
 ments. How interesting is it to observe the salient points 
 wherein each maker seems to have adoped some isolated 
 feature from a predecessor ! 
 
 The varnish is of the richest description, and in numerous 
 instances has been so plentifully used as to cause it to clot in 
 some places ; nevertheless, its rare qualities are never deadeneti. 
 
 The instruments of this truly great maker are being rapidly 
 bought up in all parts of Europe, and their value is, in conse- 
 quence, much enhanced. He made Violins, .Violas, and Vio- 
 loncellos, the latter being very scarce. The wood used in his 
 Violins and Violas varies, but may be pronounced as generally 
 handsome ; that of his Violoncellos, is on the contrary, chiefly 
 
ITALIAN MAKERS. & 
 
 plain, and the workmanship somewhat careless, but the tone is 
 always fine in quality. It would seem that he had no particular 
 liking to work the larger instruments, and he devoted his time 
 to the smaller specimens, which are, however, patterns of 
 careful handiwork. 
 
 The Earl of Harrington possesses a fine specimen of his 
 Violas, from the Gillott collection. Mr. John T. Carrodus, the 
 eminent violinist, formerly used a very fine specimen of his 
 Violins. 
 
 GUARNERIUS, Petrus, Cremona and Mantua, 1690 1728. 
 Brother of Joseph Guarnerius. In this maker, again, there is 
 
 much originality, his work, 
 
 Petrus Guarnerius Cremonensis fecit together with his model, diffef- 
 Mantuae sub-tit. Sanctae Teresiae 16 ing entirely from that of his 
 
 brother, and in outline from that 
 
 of his father, Andrea. There is increased breadth between the 
 sound-holes ; the sound-hole is rounder and more perpendicular ; 
 the middle bouts are more contracted, and the model is more 
 raised. The scroll abounds in individuality of design. The 
 ear is brought out with much effect ; the purfling is splendidly 
 executed, the corners being worked up to that extreme point 
 of delicacy which marks a summit in the works of Nicholas 
 Amati. The purfling is embedded after the manner of Nicholas 
 Amati in his "grand" instruments, but to a greater extent. 
 The varnish is superb. Its quality is of the richest description, 
 and its transparency unsurpassed. Its colour varies ; it is 
 sometimes of a golden tint, sometimes of a pale red, on which 
 the light plays with delightful variety. 
 
 Petrus Guarnerius used some of the finest wood. The 
 bellies are invariably wide in grain and very even. 
 
 GUARNERIUS, Petrus, Mantua, 1725. Son of Joseph Filius 
 Andreae. He followed to some extent the form of the instru- 
 ments of his uncle Petrus, from whom, while in Mantua, he 
 probably learnt his art. The work is very good, and his pro- 
 ductions are well worthy of the Guarnerian name. The var- 
 nish is rich, but not so transparent or so well laid on as to come 
 up to the full standard. The scroll is rather weak. 
 
 GUARNERIUS, Joseph Anthony, better known as Giuseppe 
 
 del Jesu, his labels having the cypher T s upon them. It is 
 
 not known why he adopted this 
 
 Joseph Guarnerius fecit ^ monogram, but it is possible that 
 
 Cremone Anno 17 IHS he belonged to a religious order in 
 
 Cremona, common at that period 
 
 among Italian tradesmen, who banded themselves together in 
 various societies bearing religious titles. 
 
 This famous maker of Violins was born at Cremona in the 
 year 1683, and died in 1745. To M. Vuillaume, of Paris, we 
 are indebted for the identification of the date of his birth, which 
 he succeeded in obtaining in the year 1855. 
 
^ THE VIOLIN. 
 
 The extract from the register proves that Joseph Anthony 
 Guarnerius, legitimate son of John Baptist Guarnerius and 
 Angela Maria Locadella, was born at Cremona on the 8th of 
 June, 1683, and was baptized on the nth of the same month, 
 in the parish of Saint Donate, at the Chapel of Ease of the 
 Cathedral. 
 
 The original of this extract is as follows : 
 
 " 'Guarneri (Giuseppe Antonio) figlio de' legittimi conjugi 
 Giovanni Battuta Guarneri ed Angela Locadella nacrue nella 
 parocchia di San Donalo aggregata alia Cattedrale il giorno 
 8 Giugno /68j e battezato il giorno // del detto me*e.' Libra 
 di nati dull 1669 al 1692 G. dalla Catedrale di Cremona, li 79 
 Settembri 1855. Signe, Fnsetti Giuli Vic ' Fe'tis' notice of 
 Anthony Stradiuarius. 
 
 The father of Guarnerius del Jesii does not appear to have 
 had any knowledge of the manufacture of stringed instruments, 
 and was thus an exception to the majority of a family which 
 numbered many prominent makers within it. It has been 
 asserted on all sides that Joseph Guarnerius del Jesu was a 
 pupil of Antonius Stradiuarius, but in every case this statement 
 has been made without a shadow of proof, either from recorded 
 fact or analogy. That this bare assertion should have so long 
 remained unchallenged is a matter of some surprise to the 
 writer of these pages, who fails to see anything in common 
 between the two makers, with the exception of the varnish, 
 and perhaps the high finish, as apparent in the works of the 
 second epoch of Guarnerius. The following remarks on this 
 point are the result of the most careful consideration of the 
 subject, and may serve to assist the reader in forming an 
 opinion. 
 
 Had Joseph Guarnerius received his early instructions from 
 Stradiuarius, should we not expect his instruments to bear the 
 character of the master in some slight degree ? The most 
 diligent student will, however, fail to discover an early work 
 of Guarnerius bearing any likeness whatever to the work of 
 Stradiuarius. Among the instruments of the second epoch 
 may be found a few that show some gleam of the desired simi- 
 larity in respect to high finish ; but it would be to the earliest 
 efforts of Guarnerius that we should turn in our endeavour to 
 discover the source of his first instructions. The faint gleam 
 of similarity, then, attaching to the instruments of the second 
 epoch, be it understood, is in no way sufficient to demonstrate 
 that Guarnerius was a pupil of Stradiuarius. Upon turning to 
 other makers, what will be the result if we judge them by the 
 criterion above mentioned ? Bergonzi, Guadagnini, Gagliano, 
 and others, whose names it is unnecessary to mention, leave 
 upon their earliest efforts the indelible stamp of the master who 
 first instructed them. To suppose that Guarnerius del Jesu 
 
ITALIAN MAKERS. 45 
 
 formed the single exception to the likeness between the work 
 of master and pupil is scarcely sufficient to satisfy the enquirer. 
 
 There are three essential points of difference between 
 Guarnerius and Stradiuarius. The first is the outline of the 
 work, which, as the mere tyro must at once observe, is totally 
 different in their respective instruments. The second is the 
 sound-hole, in which, again, the two do not approach one 
 another ; that of Guarnerius is long, and a modified form of 
 that of Gaspard di Salo. The third is the scroll, in which 
 Guarnerius is as distinct from Stradiuarius as it is possible to be. 
 
 It may be asked, then, if not from Stradiuarius, from whom 
 did Guarnerius receive instruction? To disagree with what is 
 popularly accepted, and yet to withhold one's own counter- 
 theory may, perhaps, tend to weaken one's case. There can 
 be but one method to be pursued if, in the absence of any 
 historical data, we set about the investigation of the question, 
 viz., that of analogy. Starting upon this ground, the first step 
 to be taken is to endeavour to discover the maker whose 
 \vork and style bear some degree of similarity to those of 
 Joseph del Jesu. If we carefully review the works of the 
 Cremonese makers, it will be found that Guarnerius, son 
 of Andrea, and cousin of Guarnerius del Jesu, is the only 
 maker, above all others, in whose productions we can find the 
 strong similarity needed. Analogy, therefore, would point to 
 him as the instructor of his cousin. Guarnerius, son of Andrea, 
 was del Jesu's senior by many years, and it is far more reason- 
 able to conclude that it was in his workshop that del Jesu was 
 first instructed, than that he was the pupil of a maker whose 
 work he never copied, and whom he never in any way resem- 
 bled. Enough has been said on this question to enable the 
 reader to judge for himself, and this may the more readily be 
 conceded when it is also admitted that, after all, it is of little 
 importance to determine where the early training of this kingly 
 maker was passed, as he so soon displayed that rare originality 
 which separated him from his brethren forever. 
 
 We will now inquire into the character of Guarnerius del 
 Jesu's model. In forming this, he seems to have turned to 
 Gaspard di Salo as the maker whose path he wished to traverse, 
 and if each point be critically considered, an impression is left 
 that, after well weighing the merits and demerits of Gaspard, 
 he resolved to commence where Gaspard ceased, and carry out 
 the plan left incomplete by the great Brescian maker. To 
 commence with that all-important element, the sound-hole, it 
 will be seen that Guarnerius del Jesu retained its pointed form. 
 Next comes the outline of the body, where, again, there is much 
 affinity to the type of Gaspard di Salo, particularly in the 
 middle bouts. Lastly, the quality of wood selected for the 
 bellies is in both makers similar. In continuing the path 
 trodden by Gaspard, Guarnerius proved himself an artist 
 
f 6 THE VIOL IX. 
 
 possessed of no little discernment. His chief desire was evi- 
 dently to make instruments capable of producing a quality of 
 tone hitherto unknown, and that he succeeded is universally 
 acknowledged. Workmanship, as evidenced by the instru- 
 ments of his first and last epoch, was with him purely a second- 
 ary consideration. In the second epoch, his work shows him 
 to have been not unmindful of it. That he brought much 
 judgment to bear upon his work, the vast number of instru- 
 ments that he has left, and the great variety of their construc- 
 tion, is sufficient to prove. The extent of his researches is 
 surprising, and there is no ground for the assertion frequently 
 made that he worked without plan or reason. The idea that 
 such an artist as Guarnerius groped in the dark savours of the 
 ridiculous ; moreover, there is direct evidence, on the contrary, 
 of his marvellous fertility of design. At one period his instru- 
 ments are extremely flat, without any perceptible rise ; at 
 another, the form is raised in a marked manner, and the pur- 
 fling sunk into a groove ; a parallel of this type of instrument 
 is to be found in the works of Peter Guarnerius and Montagnana. 
 At one time his sound-holes were cut nearly perpendicular (a 
 freak which, by the way, has some show of reason, for though 
 it sacrifices beauty, it also prevents the breaking up of the 
 fibres), at another, shortened and slanting, and again are some- 
 times seen immoderately long. These hastily-marshalled 
 instances are quite sufficient to show the extent of his experi- 
 ments and the many resources which he adopted in order to 
 produce exceptional qualities of tone. 
 
 In order that the reader may better understand the subject, 
 before going further in noting the peculiar features belonging 
 to the instruments of Guarnerius, we will classify his work. 
 M. Fetis, doubtless under the guidance of M. Vuillaume, has 
 divided the career of Guarnerius into three periods an excel- 
 lent arrangement, and one that cannot be improved upon. It 
 only remains to point out certain peculiarities omitted in the 
 description of these three stages which M. Fetis gives us. In 
 the first epoch we find instruments of various patterns, the 
 character of the sound-hole being very changeable. At one 
 time there is a strange mixture of grace and boldness ; at 
 another, the whole is singularly deformed, and the purfling 
 roughly executed, as though the maker had no time to finish 
 his work properly. It seems as if he had hastily finished off a 
 set of Violins that he had already tested, eager to lay the 
 stocks for another fresh venture. The second epoch has given 
 us some ot the finest specimens of the art of Violin making. 
 In these there culminates the most exquisite finish, a thoroughly 
 artistic and original form, and the most handsome material. 
 In some cases the lustre of the wood of the backs, set in its 
 chasing of deep amber, that unrivalled varnish, may be likened 
 to the effect produced by the setting summer sun on cloud and 
 
ITALIAX MAKERS. 47 
 
 wave. The reader may pardon a somewhat novel application 
 of the loveliest description of the glow of evening to be found 
 in the compass of the English language, which paints the 
 heavens' colours as 
 
 " Melted to one vast iris of the west, 
 Where the day joins the past eternity. 
 
 All its hues, 
 
 From the rich sunset to the rising star, 
 Their magical variety diffuse. 
 And now they change ; a paler shadow strews 
 Its mantle o'er the mountains ; parting day 
 Dies like the dolphin, whom each pang imbues 
 With a new colour as it gasps away, 
 The last still loveliest, till 'tis gone, and all is grey." 
 
 BYRON Childe Harold, Canto iv. 27 29. Venice. 
 
 The effect f this beautiful coruscation upon the backs ot 
 Violins is obtained by cutting the wood upon the cross, or, as 
 the French term it, surmaille. The most perfect and the hand- 
 somest Guarnerius in existence, that in the possession of R. D. 
 Hawley, Esq., Hartford, U. S., has the appearance here 
 described. It is also seen, though rarely, on backs divided, 
 when the wood is particularly handsome in curl. The varnish 
 on such instruments is of a rich golden hue, highly transparent ; 
 it is lightly laid on. The size of these works varies ; they are 
 sometimes a trifle smaller than the other specimens of Guarne- 
 rius. In the last epoch we find Violins of an altogether bolder 
 conception, dating from about 1740 and a little later. They are 
 massively constructed, and have in them material of the finest 
 acoustic properties. The sound-hole loses the pointed form so 
 much associated with Guarnerius; the purfling is embedded, 
 the edges heavy, the corners somewhat grotesque, the scroll 
 has a mixture of vigour, comicality, and majesty, which may 
 force a smile and then a frown from the connoisseur. The 
 comparison may seem a little forced, but the head of a thor- 
 oughbred English mastiff, if carved, might give some idea of 
 the appearance sought to be described. Air. Reade says of 
 these instruments, with much truth, "Such is the force ot 
 genius, that I believe in our secret hearts we love these impu- 
 dent fiddles best, they are so full of chic." Among the Violins 
 of this period may be mentioned Paganini's and M. Alard's, 
 both rare specimens. 
 
 These splendid chef d'azuvres are strangely mixed with 
 those commonly known as the "prison fiddles" a. sorry title. 
 The name arose from the story current in Italy that Guarnerius 
 made some fiddles whilst undergoing imprisonment for some 
 political offence that the gaoler's daughter procured him the 
 necessary materials and implements, which were of the coarsest 
 kind. There is no reason to doubt this story, which the rough 
 character of the work confirms. 
 
 These, then, were the three periods of this remarkable 
 
4 S THE VIOLIN. 
 
 man's life, and I have now only to point out some other features 
 in his work and material. His selection of wood, when he had 
 the opportunity of exercising his own judgment, was all that 
 could be desired, and the belly wood, in particular, was of the 
 choicest description. He seems to have obtained a piece of 
 pine, of considerable size possessing extraordinary acoustic 
 properties, from which he made nearly the whole of his bellies. 
 The bellies made from this particular wood have a singular 
 stain running parallel with the finger-board on either side, and 
 unmistakable, though frequently seen but faintly. If we may 
 judge from the constant use he made of this material, it would 
 seem that he regarded it as a mine of wealth. The care he 
 bestowed, when working it, that none should be lost, and his 
 constant insertion of it in the place of what had been damaged, 
 afford clear evidence of the value that he set upon this precious 
 piece of wood. I have met with three Violins by Carlo Bergonzi, 
 having bellies evidently cut from the same piece of pine, and 
 these instruments passed as the works of Guarnerius for a long 
 period. The sycamore that he used was varied both in appear- 
 ance and quality; it is chiefly of a broad description of grain, 
 the whole backs being impressively marked like a tiger's skin. 
 There are a few instances where, in his jointed backs, the 
 markings of the wood are turned upwards. 
 
 Upon examining the works of Guarnerius with respect to 
 their thicknesses, it is found that he varied very much as to the 
 quantity of wood left in the several instruments. Notwith- 
 standing these differences, however, it will be found, upon 
 closer comparison of the thicknesses, that there is every reason 
 to be sure that he had a guiding principle in their management. 
 They vary with the quality of the wood ; and hard material was 
 treated as needing a slighter solidity than the wood of soft 
 nature. 
 
 His workmanship in numerous instances, is, without doubt, 
 careless ; but even in the instruments where this negligence is 
 most observed, there is an appearance which at once excites 
 the admiration of the beholder, and forces from the most exact- 
 ing the admission that, after every deduction on account of want 
 of finish, there remains a style defying all imitation. Who can 
 fail to recognize the quaint head, into which he seems to have 
 thrown such singular character by the mere turn of his chisel, 
 and which, when imitated, always partakes of ths ludicrous, 
 and betrays the unhappy copyist who is unable to compass that 
 necessary turn ! In matters of the highest art it is always so ; 
 the possessor of genius is constantly showing some last resort, 
 as it were, impregnable to imitation ; which resolves itself into 
 this fact where the master-strokes begin and end, Art begins 
 and ends too. 
 
 The sound-hole, again, of Guarnerius always preserves its 
 distinctive character, and a grotesque humour which at once 
 
ITALIAN MAKKRS. 49 
 
 pleases the eye, though it is found to vary considerably with 
 the three periods of his life. Again, the button that portion 
 of the back against which the head of the neck rests, which 
 forms a prominent mark in all Violins, and evidence of 
 style, has a remarkably pronounced development in the Violins 
 of Guarnerius, and, in fact, may be said to give a vitality to the 
 whole work. There are many instances where excellent and 
 original specimens of workmanship have been, speaking artisti- 
 cally, ruined for want of skill in handling that simple factor of 
 the Violin, the button. 
 
 Having endeavoured to point out the chief features in the 
 work and style of this remarkable maker, I have only to add 
 that his imitators would far exceed in number all the Violin 
 makers that the city of Cremona ever sheltered. There has 
 ever been a diversity of purpose with these Guarnerius imita- 
 tors, distinct from those of Stradiuarius and others. They may- 
 be divided into three orders, viz., the bond fide copyist, the 
 subtle copyist, and the wholesale copyist. The first sets about 
 making his instrument resemble the original as closely as 
 possible, and when completed, sends it forth as a copy and 
 nothing else. Among these legitimate imitators were Lupot, 
 Gand, Vuillaume, and others. The subtle copyist takes advan- 
 tage of the disturbed styles belonging to Guarnerius, coupled 
 with his misfortunes, manufactures and translates at will. He 
 "spots" a back on an old fiddle, in which he sees Guarnerius 
 in embryo ; he secures it. In his possession is a belly which, 
 with a little skilful manoeuvring of sound-holes and corners, 
 may be accommodated to the back. The sides need well 
 matching in point of colour, workmanship is purely secondary. 
 The scroll he sets himself \.o carve, giving it a hideous, burglar- 
 like appearance, the inevitable label is inserted, and the Violin 
 leaves the translator's hands a " Prison' Joseph." Now comes 
 the difficulty. How is this "Joseph," unaccustomed to elbow 
 his legitimate namesakes in the world of fiddles, to maintain 
 the character he has assumed ? The subtle copyist puzzles his 
 brain without arriving at anything very satisfactory. He resolves 
 to slip it into a sale of household effects. It is described in the 
 catalogue, in glowing terms, as having been in the possession 
 of Geminiani (he not being alive to dispute the assertion). 
 Previous to the sale the instrument is viewed. The knowing 
 ones pass it with contempt. The Aa^-informed turn it over 
 and over, puzzled, and replace it in its case, disconsolate. The 
 thoroughly ignorant look inside, "Joseph Guarnerius Cremo- 
 nensis faciebat 1724 " in old type stares him in the face ; he puts 
 the bow on the strings and demands the maker's name his 
 thoughts are echoed back in gentle sounds, "Joseph Guarne- 
 rius." He returns it to its case, shuts the lid, exultingly sallies 
 forth, congratulating himself again and again upon his good 
 fortune in having at last the opportunity of securing the real 
 
50 THE VIOLIN. 
 
 thing at the price of "a mere song," it being the fixed, fond 
 belief with these individuals that they alone recognize the merits 
 of the thing, a merit they are at liberty to take to themselves. 
 The time of sale arrives. The beauties of the instrument are 
 dwelt upon by the auctioneer ; he begs to be permitted to say 
 two hundred guineas to commence with. Silence around. 
 " Well, gentlemen, shall I say one hundred and fifty guineas?" 
 Dogged silence. ' ' Come, come, gentlemen, this is mere trifling. 
 A 'Joseph Guarnerius' for one hundred and fifty guineas! 
 Shall I say one hundred guineas?" The customary witty fre- 
 quenter of salerooms, unable to restrain himself longer, cries 
 out, "I'll give yer a pound." The auctioneer sees the whole 
 .thing ; it is a copy that he is selling, and not the original. The 
 
 Eound bid is capped by another from our friend, who fondly 
 incies himself behind the scenes. The subtle copyist, seeing 
 his eagerness, bids on his bid, and the 'Joseph Guarnerius del 
 Jesu ' falls with the hammer to the z<^//-informed individual for 
 ten pounds. He demands possession of it once, in case another 
 may be substituted, and retires, perfectly satisfied with his 
 day's work. The wholesale copyists are those who manufacture 
 Violins in Bavaria and France in large factories, where the 
 Violins undergo all kinds of processes to make them modern 
 antiques. The wood is put into ovens and baked until it 
 assume-? the required brownness, or steeped in strong acids 
 until it becomes more like a piece of charred wood than any- 
 thing else, the sharp edges removed by the file the wear of 
 years effected in a few moments by rubbing down those parts 
 subject to friction ticketed and dated, regardless alike of 
 orthography and chronology, the date being generally before 
 or after the original's existence. These imitations are so bare- 
 faced as to render them^comparatively harmless. 
 
 GUIDANTUS, Giovanni F., Bologna, 1740. Model high. 
 Sound-hole long. Instruments undersized. Purfling badly let 
 in ; the outer form inelegant, particularly the middle bouts. 
 
 GULETTO. 
 
 JULIANO, Francisco, Rome, 1701. 
 
 KERLINO, 1449. Maker of Viols. Numerous instruments 
 of the Violin shape have been attributed to this maker, particu- 
 larly those of quaint appearance, but it is doubtful whether he 
 made any instruments but those of the Viol type. 
 
 LANDULPHUS, Carolus Ferdinandus, Milan, 1750. Pupil of 
 Joseph Guarnerius. His works are rapidly increasing in value. 
 
 Though he belonged to the latest 
 
 Carolus Ferdinandus Landulphus, of the Italian makers, his merits 
 
 fecit Mediolani in Via S. Margarita were of no ordinary kind. His 
 
 anno 17 instruments vary very much, and 
 
 hence, probably, a confusion has 
 
 arisen as to there being two makers of this name, which is not 
 the case. Those instruments which have the bright red varnish 
 
ITALIAN MAKERS. 51 
 
 are certainly the best. The varnish is very transparent, and 
 the wood being strikingly handsome, the effect is most pleasing. 
 The pattern is not a copy of Guarnerius, as often stated, but 
 thoroughly original. His sound-hole cannot be considered an 
 effective one, and is not in keeping with the work. The 
 grooving around the outer edge is in imitation of Peter Guar- 
 nerius. The scroll is weak. His Violoncellos are mostly ot 
 small size. Some of this* maker's instruments are very unfin- 
 ished, many not being purfled, and having only a single coat 
 of varnish. 
 
 LANSA, Antonio Maria, 1674. Copied the Brescian makers. 
 
 LINAROLLI, Venice, 1520. A maker of Viols. 
 
 LOLY, Jacovo, Naples, 1627. Of the Grancino type. 
 Yellow varnish. Material very hard. 
 
 MAGGINI, Giovanni Paolo, Brescia, 1590 1640. This 
 
 famous maker followed Gaspard di Salo, and is usually counted 
 
 as his pupil. There is no authority 
 
 Gio Paolo Maggini in Brescia for this statement beyond the simi- 
 larity of form to be traced in their 
 
 respective instruments. No Italian maker is more frequently 
 mistaken than Maggini. Any instrument having ornamentation 
 on the back in the shape of purfled scroll-work is at once said 
 to be by Paul Maggini. Barak Norman, the old English maker, 
 thus comes in for a large share of Maggini's patronage, as also 
 a vast number of early German makers, who adopted similar 
 devices ; to the real connoisseur, however, there is no difficulty 
 in distinguishing the work. A more pardonable error is the 
 confusing of Gaspard di Salo and Maggini, which is of frequent 
 occurrence. The Double Basses of these two makers have 
 much in common to the eye of the not deeply versed examiner. 
 Maggini, however, was not so successful as his compeer in the 
 selection of the form of the instruments. In them we miss that 
 harmony of outline belonging to the works of Gaspard. particu- 
 larly as relates to his Double Basses. Gaspard's Violins are 
 less harmonious in design, and evidence his unsettled views as 
 to the form they should take a perfectly natural circumstance, 
 when the infantile state of the Violin of his day is considered. 
 The outline of Maggini is broad, but lacks the classic symme- 
 try of the rare old Brescian artist. The form of Maggini is flat, 
 and the means which he adopted in order to obtain a full and 
 telling tone were very complete. The sides of his instruments 
 are frequently rather shallow, and quite in Accordance with the 
 outline. With others who followed him, he evidently recognized 
 the necessity of reducing the height of the sides in proportion 
 to the dimensions of his instrument. The sound-hole of Maggini 
 is long and pointed, admirably set in the instrument, and brim- 
 ful of meaning. The scroll is antique, but boldly cut, and 
 clearly marks an onward step from the somewhat crude pro- 
 duction of Gaspard, the back of which is not grooved, or but 
 
52 THE VIOL IX. 
 
 slightly. Maggini's varnish is of brown or yellow colour, and 
 of good quality. The instruments covered with the brown 
 varnish are often without any device on their backs, and 
 seldom have two rows of purfling. De Beriot, the famous 
 Belgian violinist, used one of Maggini's Violins, and, in conse- 
 quence, their value was much increased. Leonard has one of 
 this make, which is highly spoken of. 
 
 MAGGINI, Pietro, Brescia, 1630 1680. Son of Giovanni. 
 These Violins are beautifully made, and frequently surpass those 
 of Giovanni. Like those of the latter, they are double purfled, 
 and also similarly ornamented. 
 
 MANTEGATIA, Petrus Johannes, Mediolani, 1780. Guadag- 
 nini character. The work is well done, and the modelling 
 good. His Tenors are among his best instruments. 
 
 MARATTI, C. B., Verona, 1700. 
 
 MARIANI, Antonio, 1568. He has the characteristics of 
 Maggini, but the work is inferior and the wood particularly 
 plain. 
 
 MEZZADIE, Ferrara, 1690 1722. The pattern is inelegant, 
 and the sound-holes are too close. 
 
 MONTADE, Gregory, Cremona, 1730. Copied Stradiuarius. 
 
 MONTAGNANA, Dominicus, Cremona and Venice, 1700 
 1740. Pupil of Antonius Stradiuarius. After leaving the work- 
 shop of his famous master, he 
 
 Dominicus Montagnana Sub Signum followed his art in Cremona. 
 
 Cremonae Venetiis 17 Many of his instruments were 
 
 dated from that place. He after- 
 wards removed to Venice, where Violin manufacture was in 
 the most flourishing condition. In this place he soon attained 
 great popularity, and made the splendid specimens of his art 
 with which we are so familiar. The instructions which he had 
 received at Cremona enabled him to surpass all in Venice. He 
 gained great knowledge of the qualities of material, and of the 
 thicknesses to be observed ; and, moreover, he carried with 
 him the superior form of the Cremonese school, and the 
 glorious varnish. Mr. Reade names him "the mighty Vene- 
 tian," an appellation not a whit too high-sounding, though it 
 may appear so to the half-informed. The truth is, that Mon- 
 tagnana is less known than any of the great makers. For 
 years his works have been roaming about bearing the magic 
 labels of "Guarnerius filius Andreae," "Carlo Bergonzi," and 
 sometimes of "Peter Guarnerius," although there is not a 
 particle of resemblance between the works of our author and 
 the makers named, whose labels have been used as floats. 
 
 Montagnana was in every way original, but the fraud that 
 has foisted his works upon makers who were better known has 
 prevented his name from being associated with many of his 
 choicest instruments, and deprived him of the place which he 
 would long since have held in the estimation of the true con- 
 
ITALIAN MAKERS. 53 
 
 noisseur. This injustice, however, is fast passing away ; as 
 ever, genius comes forth triumphant. 
 
 The time is near when the " mighty Venetian " and Carlo 
 Bergonzi will occupy'positions little less considerable than that 
 of the two great masters. Already the merits of these makers 
 are daily more appreciated, and when the scarcity of their 
 genuine works is considered, it becomes a matter of certainty 
 that their rank must be raised to the point indicated. 
 
 It is much to be regretted that botli Mpntagnana and Ber- 
 gonzi did not leave more numerous specimens behind them. 
 Would that each had been as prolific as their common master! 
 We should then have inherited a store from which our coming 
 violinists and violoncellists could have possessed themselves 
 of splendid instruments, when those of Guarnerius and Stradi- 
 uarius were placed far beyond reach. 
 
 In these times, when the love of music is rapidly develop- 
 ing itself among all classes, the question of supply must attract 
 notice. The prime question with respect to Violins of the 
 highest character is not now as to price, but as to the supply of 
 limited and daily decreasing material ; and the doubtful point 
 is, not whether purchasers are to be found who may not be 
 unwilling to pay the increased cost consequent upon scarcity, 
 but whether the instruments required will be available in 
 sufficient numbers to satisfy the demand of those quite prepared 
 to gratify their wishes for the possession of an instrument of 
 the first rank. A single glance is sufficient to remind us that 
 the list of makers of the highest class, and particularly of 
 original artists, is scanty indeed. There are a few copyists, it 
 is true, notably Lupot and Panormo, whose instruments must 
 take a considerable position, but on the whole the demand will 
 far exceed the supply. The difficulty here noticed is intensified 
 from the fact of the Violin being, unlike any other musical 
 instrument, sought after as it is for the cabinets of the collector 
 as well as for actual use a state of things perfectly natural 
 when its artistic beauties are considered. Violinists possibly 
 consider they smart under a sense of wrong at the hands of 
 collectors in thus indulging their taste ; but, on the other hand, 
 we have reason to be grateful to the lover of art for having 
 stayed the hand of time in demolishing these treasures. 
 
 To return'to the subject of this present notice : it is evident 
 that when Montagnana left the workshop of Stradiuarius, he 
 gave full scope to his creative powers. He at once began to 
 construct upon principles of his own, and thus followed, the 
 example of his fellow-worker, Carlo Bergonzi. If comparison 
 be made between the work of Stradiuarius and that of Domini- 
 cus Montagnana, with regard to detail, the two makers will not 
 be found to have much in common. It is when Montagnana's 
 instrument is viewed as a whole that the teaching of Stradiuarius 
 is evidenced. A similar assertion may, in a lesser degree, be 
 
54 THE VIOLIN. 
 
 made in the case of Carlo Bergon/i. To dissect the several 
 points of difference is a simple matter. If we begin with the 
 outline, that of Montagnana has not the smoothness and grace 
 of the Stradiuarian type ; the upper and lower curves are 
 flattened, while those of the centre are extended. The sound- 
 hole partakes more of the character of Guarnerius ; the scroll 
 is larger, and the turns bolder than in the Stradiuarius form. 
 These, then, may be considered to be the chief points wherein, 
 if viewed as separate items, Montagnana seems to have varied 
 from his master : and hence we may obtain some idea of the 
 amount of originality belonging to this maker an amount, 
 indeed, not inferior to that of any Cretnonese artist that can be 
 cited. The increasing popularity of Montagnana's instruments 
 is sufficient proof that his design was fraught with much that 
 is valuable. In departing from the form of Antonius Stradiua- 
 rius, Carlo Bergonzi and Montagnana doubtless intended to 
 bring out, in a stronger degree, certain particular qualities ol 
 tone : at the same time we may be sure that they had no idea 
 of attempting to improve upon Stradiuarius in his own field of 
 work, for they must have well known the Herculean character 
 of such a task. On the other hand, had these remarkable 
 makers been mere copyists, they would certainly have handed 
 down to us more instruments moulded in exact accord with the 
 style of their great teacher ; while, at the same time, we should 
 have lost many variations, which are at present not only an 
 evidence of their fertility of resource, but also in themselves 
 most pleasing objects. If, in the sister art, Tintoretto had 
 made it his sole business to copy Titian, the world would have 
 been rich in copies of Titian, but poor in Tintorettos. 
 
 The varnish of Montagnana has long excited the admira- 
 tion of connoisseurs throughout Europe. The extreme rich- 
 ness and velvet-like softness which are its characteristics con- 
 stitute it a fitting countersign of the workmanship of this great 
 maker, an artist of first magnitude. He made Violins, Violas, 
 and Violoncellos. His Violins are of two sizes. 
 
 MORELLA, Morgato, Mantua, 1550. Made several Viol d? 
 Gambas of good quality. 
 
 MULLER, Venice. An esteemed maker of Lutes. 
 
 PANORMO, Vincenzo, Palermo, born about 1740, died 1813. 
 This maker was one of the most successful followers of Anto- 
 nius Stradiuarius. Panormo and Lupot 
 Vincenzo Panormo, share the palm as faithful copyists of the 
 
 di Palermo, Fecit, great Cremonese master. Neither appears 
 
 Anno 17 to have attempted to create a model of 
 
 his own ; their sole aim was to imitate to 
 
 their utmost the various patterns of Stradiuarius, Guarnerius, 
 and Amati, but they principally confined themselves to those 
 of Stradiuarius. 
 
 Vincenzo Panormo left Italy in early life, and settled for a 
 
ITALIAN MAKERS. . 55 
 
 short time in Paris, from which city a few of his instruments 
 are dated. From Paris he removed to London, where he 
 remained many years. He also visited Ireland, where he made, 
 it is said, several beautiful instruments from an old maple 
 billiard table, with which he was fortunate to meet. He was 
 of a restless temperament, which showed itself in continual 
 self-induced changes. He would not, or could not, permit his 
 reputation to grow steadily, by residing long in one place, but 
 as soon as fame was within his grasp, he sacrificed the work of 
 years by removing to an entirely new field of labour. 
 
 Panormo furnishes us with another example of the certain 
 appreciation, sooner or later, of exceptional talents. No 
 matter how stifling the circumstances under which gifted men 
 have laboured, some time or other their genius is discovered 
 and acknowledged with its due award, if not of fortune, at 
 least of fame. The peculiar circumstances under which 
 Panormo lived, would have been sufficient in the case of most 
 men to dwarf all efforts. Unable to obtain readily that patron- 
 age to which his abilities justly entitled him, he removed from 
 city to city, hoping to discover a resting place, in which favour 
 might attend his art. No doubt this was a mistaken course, 
 and one which robbed his work of the attention which a mind 
 undisturbed by the care of existence can bestow ; nevertheless 
 his natural gifts had a vitality that could not entirely be sup- 
 pressed. He worked and toiled for his art and for bare suste- 
 nance alternately. His life, like that of many others in the paths 
 of literature and science, was a continued battle with adversity. 
 Such persons are forced to satisfy daily wants by slaving at work 
 which brings them but little credit in after time, and becomes a 
 standard by which they are too often erroneously judged. 
 
 Vincenzo Panormo was the slave of many, manufacturing 
 Double Basses and other instruments from the material selected 
 and purchased by his temporary employer, oft-times compelled 
 to carry out some crotchet of the patron much against his own 
 wishes. The wood thus forced upon him was often of the 
 worst description ; and in addition, he was frequently obliged 
 to complete his work within a given time. Instruments manu- 
 factured under such conditions can scarcely, it may be supposed, 
 add to their makers' reputation. We cannot but regret that 
 he should have been obliged to waste himself on such poor 
 materials. Fortunately, however, in some cases he found time 
 to exercise his skilful powers to their full extent, and has thus 
 bequeathed to us some of the finest specimens of the copyist's art. 
 
 His workmanship is of a lighter description than that of 
 Lupot, and is, therefore more graceful. The sound-hole is 
 admirably cut ; and the scroll also well carved. There is on the 
 Continent much confusion with regard to these instruments, 
 which our neighbours are apt to mistake for Cremonese. 
 
 PANSANI, Rome, 1780. 
 
5 6 * THE VIOLIN. 
 
 PASTA, Gaetano, Brescia, 1700. 
 
 PICINO, Padua, 1712. High model, dark varnish. 
 
 RACCERIS, Mantua. 
 
 RAPHAEL, Nella, Brescia, 1740. Copied Maggini. 
 
 REGGIERI, Cremona. Copied Guarnerius. 
 
 RENISTO, Cremona, 1738. His label states that he was a 
 pupil of Carlo Bergonzi, but it cannot be said that his instru- 
 ments show much resemblance to those of Bergonzi. They are 
 more like those of Ruggierius : the model is rather high, and the 
 wood mostly of a plain description ; the varnish is of an excellent 
 quality. This maker produced many small-sized instruments. 
 
 ROVELLI, 1744. 
 
 RUDGER, Cremona, 1650 1700. This maker is often con- 
 fused with the family Ruggieri, but is quite distinct. His 
 Violoncellos are very large, and deep in the sides. The varnish 
 is of good quality and dark brown colour. His Violins and 
 Violas are excellent instruments. 
 
 RUGGIERIUS, Franciscus, Cremona, 1668 1720, surnamed 
 
 "II Per." The family of Ruggierius 
 
 Francesco Ruggieri detto long occupied a foremost place in the 
 
 il per Cremona 16 city of Cremona as makers of Violins, 
 Violas, and Violoncellos. Their position 
 
 could have been but little if at all inferior to that of the Amati 
 family. Franciscns, in his earliest works, gives evidence of 
 exceptional artistic feeling, and the sequel of his career, as 
 evidenced by his productions, is a genuine development of the 
 first impulse of his genius. His work belongs to the school 
 of Amati, but though the list of instruments which he has 
 bequeathed to us be a long one, there is no sign of his ever 
 having been a mere copyist. He evidently thought for him- 
 self. His sound-hole is a beautiful piece of workmanship, and 
 may be said to come between that of Nicholas Amati and 
 Antonius Stradiuarius, being of the most delicate execution. 
 The outline of his work is very graceful, and the arching 
 admirable. The scroll has quite an equal merit with the body. 
 He was very successful in selecting his material, much of which 
 is handsome. His varnish, thoroughly Cremonese in character, 
 and of a most beautiful hue, may be equalled, but never sur- 
 passed. This maker also knew well how to use his varnish. 
 There is no instance in which it has been laid on in clumsy 
 patches ; the surface is always true and even, and, in conse- 
 quence, the brilliancy of its appearance is perfect. 
 
 RUGERIUS, Guido, Cremona. 
 
 RUGERIUS, Johannes Baptiste, Cremona, and Brescia. The 
 instruments of this maker are of a 
 
 Io : Bapt. Rogerius Bon : Nicolai different pattern to those of Fran- 
 
 Amati de Cremona alumnus cesco. They are higher modelled, 
 
 Brixiae fecit Anno Dowino 1725 the sound-hole less elegant, and the 
 
 scroll heavier. They possess, how- 
 
ANTONirS AND HlKRONYMfS AlHATl. 
 
ITALIAN MAKERS. 57 
 
 ever, high merits, and command prices nearly equivalent to 
 those of the instruments of Francesco. 
 
 RUGERIUS, Pietro Giacomo, Brescia, 1700 1725. Pattern 
 narrower than those of either Johannes Baptiste or Francesco. 
 Scroll diminutive. Sound-hole resembles that of Francesco. 
 Varnish very beautiful in quality. The Violoncello so long 
 played upon by Signor Piatti is by this maker. 
 
 RUGERIUS, Vincenzo, Cremona, 1700 1730. 
 
 SALO, Gaspard di. He was born in the little town of Salo, 
 on the lake of Garda, Lombardy. He worked between the 
 years 1550 1612. 
 
 The early history of this famous maker of stringed instru- 
 ments is, like that of his compeers unrecorded. There can be 
 no doubt that Gaspard di Salo laid the 
 
 Gaspard Ji Salo in Brescia. foundation of the Italian style of Violin 
 making. In his works may be traced 
 
 the gradual development of the theory upon which his followers 
 built their reputation, viz., a well-defined model, excellent 
 materials, and choice varnish. It is to be regretted that his 
 immediate followers, with the exception of Paul Maggini, 
 departed from the path so successfully trodden by this great 
 pioneer. But for this deviation, the works of the early Amatis 
 and a few others would have occupied a higher position than 
 that which they now command. They were men possessing 
 great abilities, and might easily have carried out the designs of 
 the great Brescian maker. They appear, however, to have 
 arrived at a different conclusion as regards the form of their 
 instrument from that shaped by Gaspard di Salo. Their works 
 show an evident preference for the high model, and thus undid 
 much that Gaspard had accomplished after long study of the 
 subject. It is clear that Gaspard only arrived at his conclusions 
 after painstaking labour, for he commenced with the high form, 
 and gradually, as experience taught, lowered it. It is further 
 remarkable that the later members of the Amati family pursued 
 the same course as Andrew Amati (though in a less degree), 
 after which they awoke, as it were, to the reasonableness of the 
 example set by Gaspard, and gave us those instruments so 
 highly thought of by the connoisseur, the form of which has 
 much in common with that adopted by Nicholas Amati, and 
 perfected by Antonius Stradiuarius. Anthony Amati does not 
 appear to have been so willing to follow the path taken by his 
 brotHer Jerome, in reference to modelling. Long after Jerome 
 had ceased working the high model Anthony continued to 
 adopt it. 
 
 It has been before remarked that Gaspard di Salo did not 
 arrive at his conclusions without mature consideration. In fact, 
 a long and deliberate process of experiment may be traced in 
 his instruments. We find that at various times his Violins and 
 Violas were treated differently to the Violoncellos and Double 
 
SS THE VIOLIN. 
 
 Basses. The Violins are found to be high in model, while his 
 Double Basses and Violoncellos, evidently of the same date, 
 are flat. He would seem to have been desirous of testing the 
 powers of either model, and it is possible that he fostered the 
 idea of varying the construction of each of the four species in 
 the family of stringed instruments according to the part which 
 should be allotted to it. To treat each part of the stringed 
 quartett in four distinct ways is certainly an error, for they 
 are to be looked upon as gradations of one and the same 
 instrument ; nevertheless, the attempt of Gaspard, although 
 mistaken, offers but another instance of his prolific ingenuity 
 and unwearied diligence. All praise is due to the great 
 Brescian maker for having opened up as a pioneer so wide a 
 field of research. The Cremonese artists followed up his clue, 
 and brought the Violin to the highest state of excellence. 
 
 The chief characteristics of the works of Gaspard di Salo 
 are, the sound-holes, shortened centre-bouts, scroll, and 
 peculiar choice of material. The sound-hole is brim-full ot 
 originality. Its length at first strikes one as somewhat crude, 
 but as the eye becomes more acquainted with the general form 
 of the instrument, it is seen to be in perfect harmony with the 
 primitive outline. With this sound-hole commences the 
 pointed form to which Guarnerius, nearly a century and a half 
 later, gave such perfection. The centre-bouts are very quaint, 
 being remarkably short. The material used for the larger 
 instruments is mostly of pear-wood, or wood of that descrip- 
 tion, the quality of which is particularly fine. In the selection 
 of this wood he showed a still minuter discrimination, using it 
 generally for Double Basses and Viols da Gamba, and not for 
 Violins or Violas ; few specimens of the latter have backs of 
 pear-wood. His work was bold, but not highly finished ; no 
 other result could be looked for at so early a date. The grain 
 of the bellies is usually very even and well defined. His 
 Tenors and Double Basses are remarkable instruments, the 
 latter appearing in two sizes, the smaller of which is admirably 
 suited for chamber use. Signer Dragonetti, the late eminent 
 Double Bass player, possessed three or four Double Basses by 
 this maker, of various sizes. The most celebrated of these 
 instruments was presented to him by the monks of the monas- 
 tery of St. Mark, Venice, about the year 1776, and was returned 
 to the donors, after Dragonetti's death, in 1846. Another was 
 bequeathed by Dragonetti to the late Duke of Leinste'r. A 
 third is in the possession of the Rev. Geo. Leigh Blake. 
 Dr. Steward, of Wolverhampton, has two fine specimens of 
 Gaspard's Tenors. Among his chamber Double Basses, the 
 instrument which has been so long in my possession is regarded 
 as the most perfect example. It was numbered with the rarities 
 of Louis Tarisio's collection, and considered by him as the 
 chef cTceuvre of the maker. Among his Violins, the instrument 
 
ITALIAN MAKERS. 59 
 
 owned by W. Tyssen Amhurst, Esq., is unique ; the infancy of 
 the Violin at this period is better seen here than any specimen 
 with which I am acquainted. 
 
 SANCTUS SERAPHINO, Venice, 1710 1748. This maker is 
 chiefly famed for the exquisite finish of his workmanship, sur- 
 passed only by that of Stradiuarius. The 
 Sanctus Seraphin modelling of his instruments varied. There 
 Utinensis fecit are instances, particularly in the case of his 
 Venetijs Ann. 17 Violins, where he has entirely set aside the 
 Stainer form, and copied Amati. These Violins 
 are wonderfully like the work of Franciscus Ruggierius. The 
 varnish upon them, of a rich red, is of so unexceptionable a 
 quality, that one is compelled to look twice before being satisfied 
 as to the author. The greater number, however, of his instru- 
 ments are of the German character, the sound-hole, scroll, and 
 outline all hinting of Stainer. These Venetians were wonder- 
 fully fortunate in obtaining handsome wood, and in this respect 
 Sanctus Seraphino was pre-eminent, for his sides and backs 
 are simply beautiful to perfection. His method of cutting the 
 wood was invariably to show the grain in even stripes. The 
 scroll is well cut in point of workmanship, but the style is poor. 
 Sanctus Seraphino cannot be regarded as having displayed 
 originality in any shape, and he thus forms an exception to the 
 great majority of Italian makers. His instruments are either 
 copies of Amati or of Stainer; there is, of course, a strong 
 Italian flavour about his Stainer copies, which lifts them above 
 the German school of imitators, and hence their higher value. 
 He branded his instruments above the tail-pin, a practice 
 common with two Venetians only, viz., Tononi and Sanctus. 
 He used an ornamental label of large size. The Violoncello 
 in the possession of H. B. Heath, Esq., is a charming specimen 
 of Seraphino's work, I may say unequalled. 
 
 SANCTI, Giovanni, Naples, 1700 1730. Copied Amati. 
 Varnish very hard. Workmanship indifferent. 
 
 SANONI, Giovanni Baptista, Verona. His instruments are 
 seldom met with in England. High model. 
 
 SANZO, Milan. Similar to Grancino. 
 
 SAPINO, Cremona, 1640. A follower of Cappa, and con- 
 sequently, in the school of Amati. Many of his instruments 
 are well made, and his varnish good. 
 
 STORIONI, Laurentius, Cremona, 17801798. The last of 
 
 the old makers who evinced any powers of originality. Although 
 
 there is an almost total absence of refine- 
 
 Laurentius Storioni Fecit ment in his works, there is much that is 
 
 Cremona: 17 clever, which has already caused these 
 
 instruments to be valued very highly. 
 
 He appears to have made Joseph Guarnerius del Jesd his idol. 
 Although his instruments cannot be considered as copies, yet 
 there is evidence of his having made use of the salient points 
 
60 Till-: VIOLIN. 
 
 belonging to Guarnerius, which he fitted, as it were, to his own 
 model. He had much of the disregard of mere appearance 
 which Guarnerius so often displayed, and seems to have been 
 guided by similar fancies. His freak was to place his sound- 
 holes in all sorts of ways, scarcely twice alike. His outline is 
 always vigorous, but without thought of symmetrical appear- 
 ance. There is not an instrument of his make that could have 
 been made upon a mould they were built from the blocks, 
 and the result, as may be expected, is not graceful. M. Vieux- 
 temps, some years ago, possessed himself of a Storioni Violin, 
 now belonging to Mr. Proctor, and, having carefully regulated 
 it, succeeded in bringing forth its great powers. His hearers 
 were so delighted that attention was at once directed to this 
 neglected maker. These instruments are highly thought of in 
 Italy. The varnish is not of the Cremonese description, but 
 partakes of the Neapolitan character. The purfling is usually 
 narrow and roughly worked ; the scroll is stiff, and the same 
 absence of finish observable. The material he used was inva- 
 riably good in point of acoustical properties, though not hand- 
 some. Storioni does not appear to have made many Tenors 
 or Violoncellos the latter are rarely met with. 
 
 STRADIUARIUS, Antonius, Cremona; born in 1644; died, 
 December, 1737. 
 
 " The instrument on which he played 
 Was in Cremona's workshops made, 
 By a great master of the past, 
 Ere yet was lost the art divine : 
 Fashioned of maple and of pii^e, 
 That in Tyrolian forests vast 
 Had rocked and wrestled with the blast ; 
 Exquisite was it in design, 
 A marvel of the lutist's art, 
 Perfect in each minutest part ; 
 And in its hollow chamber, thus, 
 The maker from whose hands it came 
 Had written his unrivalled name 
 'Antonius Stradivarius.' " Longfellow. 
 
 The renown of this remarkable maker of Violins is beyond 
 that of all others ; his praise has been sung alike by poet, 
 
 artist, and musician. His magic 
 
 Antonius Rtradiuarius Cremonensis name is ever rising to the lips in 
 Faciebat Anno 17 the presence of the '.'king of 
 
 instruments ;" its sound is as 
 
 familiar to the humble player as to the finished artist. He has 
 received the undisputed homage of two centuries, and time 
 seems but to add to the number and devotion of his liege sub- 
 jects : he is as little likely to be dethroned to-day as Shake- 
 speare. 
 
 Although many interesting particulars concerning Antonius 
 Stradiuarius have been obtained from time to time, there is 
 
ITALIAN MAKERS. 61 
 
 wanting that which alone can fully satisfy his admirers, viz., 
 connected records of the chief events of his life. Every 
 endeavour has been made to supply in some way this deficiency 
 by consulting documents relating to the city of Cremona 
 during the iyth and iSth centuries, but nothing of much conse- 
 quence has been discovered. 
 
 With a patience worthy of reward, the librarian at Cremona 
 searched for the will of Stradiuarius, but as no proper register 
 seems to have been kept until long after the date of our hero's 
 death, the difficulty of tracing out any particular document is 
 well nigh insurmountable, and the librarian's efforts have not, 
 as yet, succeeded. Although the contents of the will might 
 throw but faint light upon the doings of the testator, they 
 would probably give particulars that would link together much 
 of the information which we already possess. That the will is 
 in existence there can be but little doubt, and patience may yet 
 have its reward. 
 
 A short time since, the exact spot where Stradiuarius was 
 buried was made known by the researches of Signer Sacchi, a 
 Cremonese conversant with the annals of his native city. This 
 was an interesting addition to the meagre information previ- . 
 ously handed down to us touching Stradiuarius. It had long 
 been known that a family grave was purchased by Stradiuarius 
 in the Church of St. Domenico, in the year 1729 ; but in the 
 certificates from the Cathedral of Cremona it is stated that he 
 was buried in the tomb of Francesco Vilani (Vitani), no men- 
 tion being made of St. Domenico. The exact words are, 
 "Buried in the Chapel of the Rosary, in the parish of St. 
 Mattheiv." The omission of the name of the church wherein 
 this chapel stood has led to the belief that the precise spot 
 where the mortal remains of Stradiuarius rest was unknown. 
 Signor Sacchi finds that the historians of Cremona (but espe- 
 cially Panini, in his "Report on the Churches of Cremona, 
 1762") mention that the Church of St. Domenico was in the 
 parish of St. Matthew, and that the only chapel known by the 
 name of "The Rosary" was the third on the right entering the 
 Church of St. Domenico. 
 
 An important point is mentioned by the historian above 
 quoted, viz., that about the year 1720 the Parish Church of St. 
 Matthew being judged too small to admit further burials in its 
 interior, the Church of St. Domenico (its subsidiary church) was 
 chosen, as a place of burial for the parishioners, for which pur- 
 pose it was used down to about 1780, and that Stradiuarius pur- 
 chased there the grave mentioned. This statement is confirmed 
 by the MS. left by the Abbate Lancette to the city of Cremona, 
 wherein we find unquestionable evidence in a letter of Count 
 Cozio de Salabue to Paolo Stradiuarius (a cloth merchant, 
 youngest son of Antonius) dated 1775, in which, after mention 
 of the price to be paid for all the instruments, models, tools, 
 
62 THE VIOLIN. 
 
 &c., left by Antonius, we read, "fain glad to receive from you 
 exact information that the church in which your father was 
 buried is that of St. Domenico." In another letter, written by 
 the same Count Cozio a year later, occur the words, " I have 
 ascertained beyond doubt that Stradiuarius died in Cremona, 
 and was buried in the Church of St. Domenico, in the year 1737, 
 aged nearly 94 years" The stone with the inscription, 
 "Sepolcro di Antonio Stradivari E. suoi Eredi. An. 1729" 
 is now preserved in the Town Hall of Cremona, and is an 
 object of much interest to the many visitors. 
 
 The Church of St. Domenico was, in consequence of its 
 decayed condition, demolished about the year 1869. 
 
 It has been ascertained that Stradiuarius had a family of 
 four children : three sons, named Francesco, Omobono, and 
 Paolo, and a daughter named Catarina, who is referred to in 
 an extract from the burial register (1730 1750) of Cremona, 
 of which we give the subjoined translation: "Catharine, 
 daughter of the late Antonio Stradivari, dwelling in the parish 
 of the Cathedral of Cremona, died in the year 1748, at about 
 the age of 70 years, and was buried in the Church of St. 
 Domenico.''' Omobono and Francesco Stradiuarius followed 
 the occupation of their father, and carried on the business in 
 the same house for some time after his death. They were 
 succeeded by Carlo Bergonzi. Paolo Stradiuarius was a dealer 
 in cloth, and became possessed of the tools and effects of his 
 father, which he disposed of to the Count Cozio de Salabue. 
 Among these was a Violin made by Stradiuarius, on the label 
 of which is given his age (92 years} and the date, 1736. 
 "George Eliot" is thus within the mark in describing our 
 hero as 
 
 "That plain white-aproned man who stood at work, 
 Patient and accurate, full fourscore years ; 
 Cherished his sight and touch by temperance; 
 And, since keen sense is love of perfeciness, 
 Made perfect Violins, the needed paths 
 For inspiration and high mastery." 
 
 Stradivari, by GEORGE ELIOT. 
 
 M. Fe"tis, in his notice of Anthony Stradiuarius, remarks, 
 " The life of Anthony Stradiuarius was as tranquil as his calling 
 was peaceful. The year 1702, alone, must have caused him 
 much disquiet, when, during the war concerning the succession, 
 the city of Cremona was taken by Marshal Villeroy on the 
 Imperialist side, retaken by Prince Eugene, and finally taken 
 a third time by the French ; but after that period Italy enjoyed 
 a long tranquillity, in which the old age of the artist glided 
 peacefully away. We know but little respecting that uneventful 
 existence. Polledro, late first Violin at the Chapel Royal of 
 Turin, who died a few years ago at a very advanced age, 
 declared that his master had known Stradiuarius, and that he 
 
ITALIAN MAKERS. 63 
 
 was fond of talking about him. He was, he said, tall and thin, 
 habitually covered with a cap of white wool, and of cotton in 
 summer. He wore over his clothes an apron of white leather 
 when he worked, and as he was always working, his costume 
 scarcely ever varied. He had acquired more than competency 
 by labour and economy, for the inhabitants of Cremona were 
 accustomed to say, "As rich as Stradiuarius !" The house he 
 occupied stands in the Piazza. Roma, formerly called the square 
 of St. Domenico, in the centre of which was the church of the 
 same name. The house is still in good condition, and is 
 the principal place of interest in the old city of Cremona to the 
 many admirers of Stradiuarius who visit the seat of Violin- 
 making in olden times. 
 
 It is somewhat singular that the Cremonese take but little 
 apparent interest in the matter, and have expressed themselves 
 as being astonished at the demonstrations of respect which 
 their French and English visitors pay to the hallowed spot. 
 The better-informed Cremonese have some acquaintance with 
 the name of Stradiuarius ; but to create any enthusiasm among 
 them from the fact of his having been a Cremonese, or from 
 the historical associations which connect him with that city, 
 would be difficult. After the display of considerable patience 
 iand determination, Signor Sacchi, in conjunction with a few 
 Cremonese, managed to raise sufficient enthusiasm among the 
 inhabitants, a few years since, to permit the authorities to name 
 a street after Stradiuarius, and another after Amati. This was 
 much opposed at the time. The citizens of Cremona are, how- 
 ever, not quite singular in this respect. It has been remarked 
 that our American friends show far greater interest in Stratford- 
 upon-Avon and its memories than we ourselves do. I must 
 confess that I have great respect for the genuine enthusiast. 
 
 The Cremonese have scarcely an idea of the extent of 
 veneration with which we admirers of the art .regard their 
 illustrious citizen. They will be astonished to hear that 
 "Stradiuarius" forms the Christian name of some Englishmen. 
 A well-known dealer some years since determined to com- 
 memorate his admiration for the great maker, and, accordingly, 
 named his descendant "Stradiuarius Turner." We have 
 stepped out of the ordinary path of house nomenclature, and 
 have adopted the cherished name of "Stradiuarius," to the 
 bewilderment of the passer by, whose unmusical soul fails to 
 be impressed by it. To crown our seeming eccentricities (in 
 the eyes of our Italian friends), I may mention that the magic 
 name has found its way into circles where little interest is taken 
 in Stradiuarius himself. Very recently the following appeared 
 in the profane pages of a newspaper: "Waterloo Purse. E. 
 Mr. Goodlake 's Gilderoy beat Earl of Stair's Stradivarius, and 
 won the Purse;" the result showing that Stradiuarius was 
 evidently out of place in such company. 
 
64 THE VIOLIN. 
 
 In the absence of direct information concerning the life of 
 Stradiuarius, we must turn to his instruments for such evidence 
 as we require ; and these, happily, give us a greater insight 
 into his career than would be readily imagined. I am not 
 aware that there has ever appeared a Violin of Stradiuarius in 
 which it is stated that he was a pupil of Nicholas Amati, or 
 that this assumption has been maintained on any other grounds 
 than the indisputable evidence furnished by the early instru- 
 ments of this great maker. Never has affinity in the art of 
 Violin manufacture been more marked than that between 
 Stradiuarius and Nicholas Amati during the early life of the 
 former. I have, in another place, remarked upon the almost in- 
 variable similarity occurring between the works of master and 
 pupil, and have used this canon in refutation of the doctrine 
 that Joseph Guarnerius del Jesu was ever a pupil of Antonius 
 Stradiuarius. We will proceed to examine the characteristics 
 of the earliest productions of Stradiuarius, in order that the 
 reader may judge of the extent and value of this fancied 
 resemblance. Although we have not met with a single instance 
 of a Stradiuarius Violin bearing the maker's name prior to 
 1668, we have seen instruments bearing the signature of 
 Nicholas Amati, which can be readily recognized by the prac- 
 tised judge as having been the work of Stradiuarius, in somej 
 cases in toto (in which case, as may easily be imagined, they 
 have no longer been allowed to sail under false colours, but 
 have had their proper certificate of birth attached to them) ; in 
 other cases, and more frequently, in part, as when the beautiful 
 scroll of Stradiuarius is met with on the body of an Amati, or 
 the sound -hole of such an instrument shows that it has been 
 cut by the hand of Stradiuarius. We will not, however, con- 
 sider these instruments as typical of the maker, but pass on to 
 the period when we assume that Stradiuarius left the workshop 
 of Amati, the year 1668. At this point we find that his whole 
 work is in accordance with the plans of Amati (not as seen in 
 the latter's grand pattern, but in his ordinary full-sized instru- 
 ment) ; the arching is identical, the corners are treated simi- 
 larly, the sound-hole is quite Amati-like in form, yet easily 
 distinguished by its extreme delicacy, the scroll a thorough 
 imitation of Amati, and presenting a singular contrast to the 
 vigorous individuality which Stradiuarius displayed in this 
 portion of his work a few years later. Enough has been said 
 to enable the reader to recognise the connection which must 
 have existed between Amati and Stradiuarius, to admit of such 
 marked resemblances. It should be observed that in these 
 earlier specimens there is a singular absence of handsome wood ; 
 the acoustical properties of the material are very good, but it 
 has little figure in it, and is often cut on the cross. 
 
 The next period is that dating from 1686 to 1694. We here 
 observe a marked advance in every particular. The form is 
 
ITALIAN MAKERS. 65 
 
 flatter, the arching differently treated. The sound-hole, which 
 is a masterpiece of gracefulness, reclines more. The curves 
 of the middle bouts are more extended than in this maker's 
 later instruments. The corners are brought out, although not 
 prominently so. Here, too, we notice the change in the forma- 
 tion of the scroll. He suddenly leaves the form that he had 
 hitherto imitated, and follows the dictates of his own fancy. 
 The result is bold and striking, and often leaves the impression 
 on the mind that it partakes much of the character belonging 
 to the bodies of instruments of his latter period. Though it 
 may seem daring and presumptuous criticism, I have often been 
 impressed with the idea that these scrolls would have been 
 more in harmony with his later works than those to which they 
 belong. The reader will be enabled to form a pretty correct 
 notion of the different characters pervading the scrolls of 
 Stradiuarius by referring to an engraving of them given in the 
 earlier edition of this work. The varnish on the instruments 
 belonging to the period under consideration is very varied. 
 Sometimes it is of a rich golden colour, deliciously soft and 
 transparent ; in other instances he has used varnish of a deeper 
 hue, which might be described as light red, the quality of 
 which is also very beautiful. We find this varnish chiefly on 
 those instruments where he has made his backs in two parts, 
 and also on whole backs. The purfling is narrower than that 
 afterwards used. 
 
 We now arrive at the time when Stradiuarius made, 
 together with the form of instrument just described, that known 
 to connoisseurs as the "long Strad." We have here a totally 
 differently constructed instrument ; it is less graceful, although 
 there is no absence of the masterly hand throughout the work. 
 It has received the title of "long Strad" not from increased 
 length, as the name would imply, but from the appearance ot 
 additional length, which its narrowness gives it, and which is 
 particularly observable between the sound-holes. The dimen- 
 sions of these instruments vary considerably ; in some the 
 width across the lower portion is but a shade less than that of 
 his full size " Amatese" instruments, but in the upper part the 
 dimension is more marked. On these, again, there is much 
 variation in the tone of the varnish, many having his beautiful 
 amber-coloured varnish, others a pale red, of great transpa- 
 rency. In the year 1687 he made the quatuor of instruments 
 for the Spanish Court, inlaid with ivory, and having a beautiful 
 scroll work running round the sides and scroll. The Viola 
 belonging to this quatuor has lost its ivory work, a blemish 
 which is to be regretted, destroying as it 'does the completeness 
 of the set. He also made about this period some very small 
 Violins with similar designs, instruments evidently made to 
 order. 
 
 Fortified with the vast experience which these variously 
 
66 THE VIOLIN, 
 
 constructed instruments had enabled him to gather, he would 
 seem to have marshalled all his forces in order to enter on an 
 entirely new campaign, one that should be alike glorious to 
 himself and his art. That he succeeded in achieving all that 
 he could have desired my readers will have an opportunity of 
 judging by the evidence I propose to offer. It was about the 
 year 1700 when Stradiuarius entered upon a new era in his art. 
 All his past labours appear to have been only measures pre- 
 liminary to that which he proposed afterwards to accomplish, 
 and were made for the purpose of testing, to the minutest 
 degree, the effects of particular modifications in the form and 
 thicknesses of his works. 
 
 If we stay to consider for a moment the field of research 
 traversed by Stradiuarius before entering upon what may be 
 not inaptly named the golden period of his life, artistically 
 considered, we shall be better enabled to appreciate his labours. 
 
 Starting from the days when he left the workshop of 
 Nicholas Amati, we find him following implicitly in the foot- 
 steps of his master. About 1686 he makes use of the more 
 commendable points belonging to the works of former years, 
 adding others of great beauty and utility. At this period he 
 begins to make his originality felt, continuing in this vein with 
 but little intermission down to about the year 1694, when he 
 again gives forth fresh evidence of his power to create, as 
 shown in the "long Strad." In expending his powers on these 
 instruments of diminished proportions, it might occur to the 
 mind of the observer that he was undoing much that he had 
 accomplished ; but I do not consider that such was the case. 
 His project in making these instruments together with those of 
 larger dimensions evidences in my opinion a desire that he had 
 of fairly testing the results of changed methods of construction. 
 
 From this brief summary of the varied styles given to the 
 works of this true artist, the reader may gather some idea of 
 the solidity of the foundation which he laid, before trusting 
 himself to raise those works which have become monuments 
 to his memory. 
 
 That which I have termed the golden period of Stradiua- 
 rius, commenced about 1700, at which period he had reached 
 his 56th year : a time of life when it is a rare occurrence to find 
 genius asserting itself with any degree of power a time, if not 
 of waning, at least of resting, when the mind usually stays 
 from giving forth originality bearing the freshness of earlier 
 years ; but Stradiuarius, with a few other notable instances in 
 the field of art, forms an exception to this rule, and he proves 
 to us that his talent was then in its full vigour, and ripe for new 
 achievements. George Eliot's fancy well contrasts the painter 
 Naldo 
 
 " Knowing all tricks of style at thirty-one. 
 And weary of them ; while Antonio 
 At sixty-nine wrought placidly his best." 
 
ITALIAN MAKERS. 67 
 
 From about 1700 his instruments show to us much of that 
 which follows later. The outline is changed, but the curves 
 blending one with another are beautiful in the extreme. The 
 corners are treated differently. The wood used for the backs 
 and sides is most handsome, having a broad curl ; the cutting 
 adopted is chiefly that shown in figure i. The scrolls are of 
 bold conception and finely executed. The varnish also is very 
 rich, and leaves nothing to be desired. 
 
 It is not possible to convey to the reader by means of mere 
 description anything approaching an adequate notion of the 
 surpassing gracefulness of the entire work of this epoch. The 
 eye must be made the channel to the mind. If the work is 
 present, then, with the aid which these remarks will afford, the 
 reader may gain, by careful study, much valuable insight into 
 the beauties and genius of this famous artist, together with 
 much useful information. 
 
 But during this period of his maturity, even, we find that 
 Stradiuarius did not absolutely confine himself to making 
 instruments exactly alike ; on the contrary, it is easy to point 
 out certain variations, the meaning of which he certainly well 
 understood. We find him guided throughout this period by 
 his usual ideas as regards grandeur of outline and degrees of 
 thickness ; but the rotundity of the model, the shape that he 
 gave to the sound-hole, the method of setting the sound-hole 
 in the instrument, although, as before remarked, all executed 
 with a breadth of purpose which his earlier efforts fail to show, 
 may be cited as instances of variations. I have no hesitation 
 in hazarding an explanation of the reasons that prompted him 
 to these differences of construction. It is my firm conviction 
 that these great makers had certain guiding principles as regards 
 the nature and qualities of the wood they used, and that 
 Stradiuarius in particular made the subject a special study. If 
 this be granted, I do not think there is any great difficulty in 
 understanding the meaning of the differences pointed out. If 
 we admit that Stradiuarius constructed his instruments upon 
 philosophical principles, it will be clearly recognised that the 
 chief element of variation in the treatment of any particular 
 instrument must be the difference of quality in the material 
 employed ; and that a method eminently successful, when 
 applied to wood of a certain texture and character, would 
 ensure as eminent a failure if applied indiscriminately in all 
 cases. To obtain wood sufficient for two bellies that should 
 be alike in every particular is impossible, though cuttings should 
 be made from the self-same piece ; and we find that the more 
 the material varies in its nature, so much the greater the 
 variations a rule which helps the view advanced considerably. 
 In another place I have stated that scarcity of sycamore in the 
 days of these old makers is impossible to understand, but 
 scarcity of a particular kind of sycamore is easy to comprehend. 
 
68 THE WOLIN. 
 
 I may even carry this view further. Does it seem possible that 
 such a consummate artist as Stradiuarius, whose conception of 
 the beautiful, as regards the blending of lines, was so masterly, 
 would have been content to expend his loving care over wood 
 whjch he knew must necessarily mar the effect of his labours, 
 when he could have obtained handsome material and made all 
 complete? He might have had a cart-load of handsome wood 
 in appearance, but handsome wood combined with acoustical 
 properties he deemed needful, was another matter. With what 
 extraordinary care he permitted himself to use the lovely wood 
 he did possess! There are several instances where he has 
 used during one year four or five distinct cutting:) of w^ood, 
 more particularly as regards the sycamore. These several 
 cuttings include often the handsomest and the plainest. A 
 year or so later we find him again making use of wood from 
 the same cuttings, which proves satisfactorily that he did not 
 work up one piece before commencing with another. He 
 would seem to have kept back the handsomest wood for certain 
 important commissions. I have seen three Stradiuarius Violins 
 of 1714, with backs having but little figure, yet this was the 
 year in which he made the "Dolphin," which has long been 
 regarded by the chief connoisseurs in Europe as the chefd'asuvre 
 of Stradiuarius. From the days when it was in the possession 
 of the Marquis de la Rosa to the present time, its beauty has 
 excited the admiration of the fiddle world. The splendour of 
 the wood is unsurpassed in any Violin, ancient or modern, and 
 it was named the " Dolphin " from the richness and variety of 
 the tints it gives to the varnish. The model is perfection ; its 
 :solidity of construction and glorious varnish all tend to make 
 it matchless. Its beauty is of a kind that does not require the 
 eye of the skilled connoisseur to recognise it ; it causes those 
 to exclaim whose knowledge is limited to being aware that it 
 is a fiddle. His making this superb work of art in the same 
 year in which he made instruments having wood quite opposite 
 in figure, bears out, I consider, what I have before stated, viz., 
 that Stradiuarius jealously guarded the material he possessed 
 having both handsome figure and valuable acoustical properties. 
 Mr. Charles Reade says of these "Strads:" "When a red 
 Stradiuarius Violin is made of soft, velvety wood, and the 
 varnish is just half worn off the back iri a rough triangular form, 
 that produces a certain beauty of light and shade which is, in 
 my opinion, the ne plus ultra. These Violins are rare ; I never 
 had but two in my life." 
 
 Passing to the last period of this great maker, we enter 
 upon the consideration of a set of instruments very distinct 
 from those of an earlier date, and which have given rise to a 
 great divergence of opinion. Some have gone to the extent of 
 denying the authenticity of these works, as far as they relate to 
 Stradiuarius ; others, again, admit that portions of these instru- 
 
ITALIAN MAKERS. 69 
 
 ments are from his hand, and finished by his sons or Carlo 
 Bergonzi. There are, doubtless, many exceedingly crude- 
 looking instruments passing under his name, bearing dates 
 ranging from 1730 to 1737, in the making of which he has taken 
 no part ; but, on the other hand, to deny that there are any 
 works of Stradiuarius having these dates is, to my mind, absurd. 
 He must be an ill-informed judge of Violins who fails to recog- 
 nise the hand of the master in several splendid specimens of 
 this period. It must be borne in mind that Stradiuarius had 
 reached a great age when he made these instruments in 1730, 
 viz., 86 years. It would not be reasonable to expect to rind 
 the high finish belonging to the instruments made from 1700 to 
 1725, but even in these there is a finish distinct from that of 
 either his sons or Bergonzi. But, beyond this, there is recog- 
 nisable the splendid form, the masterly scroll, the perfect 
 sound-hole a repetition of his early work, but more massive 
 treatment. To say that Omobono Stradiuarius, Franciscus 
 Stradiuarius, or Carlo Bergonzi had any share in these notable 
 works, evidences a very ill-formed judgment, and, indeed, total 
 ignorance of the style of those to whom these instruments are 
 attributed. The work of Carlo Bergonzi is now pretty well 
 understood ; in England, particularly, we have some glorious 
 specimens. I need only ask the unbiassed connoisseur if he 
 can reconcile one Qf these instruments with those of Stradiu- 
 arius of the period named. I have no hesitation in saying that 
 there is not a single feature in common. The work of the sons 
 of Stradiuarius is less known, but it is as characteristic as that of 
 Bergonzi, and quite as distinct from that of their father as his, 
 if not more so. The outline is rugged, the modelling distinct, 
 the scroll a ponderous piece of carving, quite foreign to Stradiu- 
 arius the elder, and the varnish, though good, is totally different 
 from the superb coats found on the father's works of late date. 
 
 Having now exhausted the subject of the various styles of 
 "Stradiuarius," I close this notice with a few interesting items 
 relating to the famous maker, extracted from manuscripts 
 written by Desiderio Arisi in the year 1720. These MSS. are 
 preserved in the Town Museum at Cremona, and I am indebted 
 to Signer Sacchi for extracting and translating them. The 
 MSS. of Arisi comprise a series of short biographies of Cre- 
 monese worthies. It is said he was intimate with Stradiuarius, 
 and he would seem to have noted many events which Stradiu- 
 arius related to him. 
 
 "On the loth of November, 1702, the Marquis Giovanni 
 Battista Tozalba, General of Cavalry and Governor of Cremona, 
 sent for Stradiuarius, and after complimenting him for his 
 peculiar genius, commissioned him to make two Violins and a 
 Violoncello, which were sent as presents to the Duke of Alba." 
 
 "In the year 1707, the Marquis Desiderio Cleri wrote by 
 order of King Charles III. of Spain commissioning Stradiuarius 
 
7 o TIII-: J70/./.Y. 
 
 to make six Violins, two Tenors, and one Cello for the royal 
 orchestra." 
 
 ' ' Stradiuarius made also a complete set of how instruments, 
 which he intended to present to King Philip Y. of Spain, on 
 the occasion of the king passing through Cremona, but he was 
 dissuaded, and the instruments are still in his possession" 
 (1720). 
 
 ' In the year 1716, his Serene Highness the Duke of Modena 
 instructed Stradiuarius to make a Violoncello." 
 
 STRADIUARIUS, Franciscus, Cremono, 1720 1743. Son of 
 Antonius Stradiuarius. Worked with his brother Omobono for 
 
 several years. Ma ay of the 
 
 Franciscus Stradivarius Cremonensis later works of AlltOIliuS Stradill- 
 
 Filius Antonii faciebat Anno 1742 arius have been most errone- 
 ously attributed to his sons. 
 
 The character of the work is wholly distinct. I can well 
 understand the common error of attributing the instruments of 
 Franciscus Stradiuarius to Carlo Bergonzi, there being many 
 points in common, but that so many marked specimens of the 
 works of Antonius should be deemed apocryphal is beyond 
 my comprehension. The work of Franciscus is altogether less 
 finished, but at the same time it shows the hand of the master. 
 The design is bold and original. The sound-hole is quite 
 unlike that of Antonius. The tone of Franciscus's instruments 
 is invariably very rich and telling. 
 
 STRADIUARIUS, Omobono, Cremona, 1720 1742. Brother 
 of Franciscus. 
 
 Omobonus Stradivarius ngly Antoy 
 Cremone fecit, Anno 1740. 
 
 SURSANO, Spiritus, Coni, 1714 1735. 
 
 TECHLER, David, Rome, 1680 1743. A highly esteemed 
 maker. He worked in Venice, Salzburg, and Rome, chiefly in 
 the latter city. His instruments vary in form, some having a 
 markedly German style : they are high modelled, and the 
 sound-hole partakes of the Stainer character. These were 
 probably made in Salzburg to the order of his patrons. Those 
 instruments which date from Rome are of the Italian type, and 
 are so much superior to the others that it seems difficult to 
 reconcile varieties so distinct as the work of the same man. 
 They are finely formed, have splendid wood, and rich varnish 
 of a yellowish tint ; the bellies are of a mottled character, 
 similar to those of Nicholas Amati at one period of his career. 
 His Violoncellos are among his finest instruments. They are 
 mostly of large size. 
 
 TESTORE, Carlo Giuseppe, Cremona, about 1690 to 1720. 
 He copied Guarnerius with much success; it is possible that he 
 was a pupil of that famous maker. These instruments are 
 rapidly increasing in value. The work in his best instruments 
 is highly finished. 
 
ITALIAN MAKERS. 71 
 
 TESTORE, Carlo Antonio, Milan, 1730, son of Giuseppe. 
 Copied Joseph Guarnerius and Aniati. These instruments are 
 bold and well made ; their tone is excellent. 
 
 TESTORE, Paolo Antonio, Milan, 1740. Brother of Paolo 
 Antonio. Copied Guarnerius. The varnish is mostly yellow ; 
 frequently unpurfled. 
 
 TONONI, Felice, Bologna. These instruments are rather 
 high built. The varnish is very good. 
 
 TONONI, Guido, Bologna. Made a few Violins of the 
 Amati form. 
 
 TONOXI, Carlo Antonio, Venice, 1700. The model varies 
 very much ; those of the flat pattern are excellent instruments. 
 They are large, and beautifully made. The varnish, though 
 inferior to that of Sanctus Seraphino, is similar. These Violins 
 are branded above the tail-pin. 
 
 TONONI, Giovanni, Venice. Same characteristics. 
 
 TORTOBELLO, Rome, 1680. 
 
 VETTRINI, Brescia, early. Wood very handsome. Golden 
 varnish. Well modelled. 
 
 VIMERCATI, Paolo, Venice, 1710. Similar to Tononi. 
 
 ZANETTO, Peregrine, Brescia, 1550. A maker of Viols da 
 Gamba. 
 
 ZANTI, Alessandro, Mantua, 1765. He copied Peter Guar- 
 nerius ; but had little knowledge of varnishing, if we are to 
 judge from the few instruments of this maker that are extant. 
 
SECTION VII. 
 THE FRENCH SCHOOL. 
 
 YT7HE French have long occupied a foremost place in the 
 l production of articles needing delicate workmanship, 
 and it is, therefore, not surprising that they should at an 
 early period have turned their attention to the art of Violin 
 making, which requires in a high degree both skilful workman- 
 ship and artistic handling. The French manufacture of instru- 
 ments of the Violin class appears to have commenced about 
 the same period as the English manufacture, viz., in the early 
 part of the i7th century, Me"dard and Tywersus being among 
 the early French makers, and Rayman and Wise their fellows 
 in England. The primitive French makers, like their English 
 brethren, copied the Brescian and early Cremonese artists, 
 whose model they adhered to down to the days of Barak 
 Norman, when the two nations parted company, as regards 
 having a common type, the French continuing the path they 
 had hitherto taken, and which they have followed, with scarcely 
 any deviation, to the present time. The English departed 
 from the Italian form for that of the German of Jacobus Stainer, 
 which they adopted, with but few exceptions, for nearly a 
 century, recovering the Italian about the middle of the i8th 
 century. It is remarkable that French makers should have 
 restrained themselves from following the pattern of the famous 
 German maker when his name was at its height, and his 
 instruments were in such demand. That in not adopting the 
 then popular form they were rightly guided, experience has 
 clearly demonstrated. When we scan the works the French 
 have left us, and consider the advantage they had in keeping to 
 the Italian form, we cannot but feel disappointed in finding so 
 few meritorious instruments among them. There appears to 
 have been many makers who were quite unconcerned as to 
 whether their instruments possessed merit becoming the pro- 
 duction of a true artist ; their chief aim would seem to have 
 been to make in dozens, in other words quantity in place of 
 quality. If the early French makers are carefully studied, it 
 will be seen that Bocquay, Pierray, and one or two of their 
 pupils are the only makers deserving of praise. It must be 
 admitted that the shortcomings on the part of the makers of 
 the first period were adequately supplied by those of the second 
 period, which takes in the king of French artists, Nicholas 
 Lupot. The old French school, originating with Mdard and 
 
THE FRENCH SCHOOL. 7J< 
 
 Tywersus, includes the following makers : Nicholas Renault, 
 01 Nancy, Medard, also of Nancy, Bourdat, of Mirecourt, 
 Dumenil, Bertrand, Bocquay, Gavinis, Chapuy, Ouvrard, 
 Paul Grosset, Despont, Saint Paul Saloman, Ve"ron, with others 
 of less importance. Many of these makers had a fair amount 
 of ideas, which, had they been well directed, might have led to 
 fime. Others contented themselves with copying, without 
 giving any play to their fancy. There was one feature which 
 several of the old French makers were most successful in, that 
 of varnishing. It will be found that many of the instruments 
 by Bocquay, Pierray, and a few others have varnish upon them 
 closely resembling that of the Venetian school ; it is full-bodied, 
 very transparent, and rich in colour. Many of their works are 
 covered with a very inferior quality of varnish, which has 
 caused some confusion respecting the merit due to them as 
 varnishers, they being frequently judged by their inferior 
 instruments, without reference to the good ones. It is evident 
 that they made two qualities of varnish, so as to suit the price 
 they were to obtain, as was commonly done in England by the 
 Forsters, Banks and Wamsley, where similar confusion exists. 
 The Italians happily avoided this objectionable system. Their 
 works are of one uniform quality in point of varnish. This diver- 
 gence may possibly be accounted for by the difference of 
 climate. In Italy, oil varnish judiciously used would dry 
 rapidly, whereas in France or England the reverse is the case ; 
 hence its more sparing use. 
 
 We will now glance at the second French school of makers, 
 commencing with De Comble, who may be regarded as the 
 founder of the modern French school. Learning his art in 
 Italy, and, it is said under Stradiuarius, he brought to France 
 an entirely distinct knowledge from that then possessed by the 
 makers mentioned above. His instruments certainly bear the 
 stamp of genius, although they are copied from the Italian, and 
 chiefly from Stradiuarius. The form which he introduced into 
 France was at once seen to be so far superior to anything the 
 French had hitherto been accustomed to, that it soon induced 
 them to tread the same path. The next maker was Pique, who 
 manufactured some excellent Violins and Violas, in point of 
 workmanship, and, had he been equally successful in varnish- 
 ing, would have been probably held in the same estimation as 
 Nicholas Lupot, his fellow-workman ; but there is this to be 
 said, that Pique opened up the ground for Lupot. He srfowed 
 what might be done in copying, and, possibly caused Lupot to 
 turn his attention to the matter of varnishing, that their instru- 
 ments might be more complete. From these makers sprung 
 quite a little school of its own, comprising Gand, the father of 
 the present Gand, in Paris, who succeeded to the business of 
 Lupot, and Bernadel, with several others less known. Mention 
 must not be omitted of another successful copyist, Sylvestre, 
 
74 THE VIOL IX. 
 
 of Lyons. He has left some charming specimens of his art. 
 They are lighter in character than the works of Nicholas Lupot, 
 and resemble the work of Stradiuarius from 1680 to 1710 ; while, 
 as every feature is artistically handled, and free from the 
 common practice among French makers of preparing the wood 
 in order to darken it, they are instruments which must become 
 valuable as age acts upon them. 
 
 It only remains now to mention Salle, Vuillaume, Chanot, 
 and Gand, all copyists of more or less note, who may be said 
 to complete the modern French school. With these makers 
 end, as far as it is possible to learn, the manufacture of Violins 
 in France of a better class. Those made by thousands yearly 
 at Mirecourt are not Violins in the eyes of the connoisseur. 
 They are made as the common cabinet work is produced in 
 England, by several workmen, each taking a portion, one 
 making the backs, another the sides, another the belly, and so 
 on with the other features, the whole being arranged by a 
 finisher. Such work must necessarily be void of any artistic 
 nature ; they are like instruments made in a mould, not on a 
 mould, so painfully are they alike. This Manchester of fiddle- 
 making has doubtless been called into being by the great 
 demand for cheap instruments, and ha? answered thus far its 
 purpose, but it has certainly helped to destroy the gallant little 
 bands of makers who were once common in France, Germany, 
 and England, among whom were men who were guided by 
 reverential feelings for the art, irrespective of the gains they 
 reaped by their labours. The number of instruments yearly 
 made in MirecOurt amounts to many thousands, and is yearly 
 increasing. They send forth repeated copies of Amati, Maggim, 
 Guarnerius, and Stradiuarius, all duly labelled and dated, to 
 all parts of the wo'rld, frequently disappointing their simple- 
 minded purchasers, who fondly fancy they have thus become 
 possessed of the real article at the trifling cost of a few pounds. 
 They have recently sent forth a new kind of modern antique in 
 Violins, which is causing a revolution in the Mirecourt manu- 
 facture, and is more deceptive than the stereotyped article 
 which has been so long in the market. It has the appearance 
 of having been boiled in some mixture of acids, giving it the 
 aged look of the genuine thing to the inexperienced eye. It is 
 blackened and charred in the most merciless manner, and 
 sends forth a smell of a most disagreeable nature. The whole 
 thing fs over-done, and the results, in point of tone, are far 
 more disastrous than in the common French copies. 
 
 In the following list of French makers will be found those 
 generally known, and their leading characteristics. 
 
NICHOLAS AMATI. 
 
SECTION VIII. 
 FRENCH MAKERS. 
 
 <^TLDRIC, Paris, 1830. Copied Stradiuarius with average 
 pN ability. He was, perhaps, better known as a dealer in 
 J Cremonese instruments. He was one of the earliest 
 French makers who dealt with Louis Tarisio, the famous 
 Italian connoisseur. 
 
 BENOIT, Brussels, 1758. 
 
 BOCQUAY, Jacques, Paris, 1700 1730. One of the first of 
 the old French school. He, with a few of his contemporaries, 
 inherited a good amount of the Italian character 
 Jacques Boquay, of workmanship introduced into France by 
 rue d'Argenteuil, Nicholas Renault, a well-known French maker, 
 a Paris, 1723 who probably passed his early life among the 
 Italians. Bocquay, with others whose names 
 are mentioned in this list of French makers, used varnish 
 closely allied to that of Cremona ; its colour is a warm brown, 
 very transparent and of a soft nature. He made many instru- 
 ments of small size. The model is often that of Jerome Amati, 
 but slightly more arched ; the sound-hole is more rounded and 
 less striking. The scroll can scarcely be considered a copy of 
 Jerome Amati's ; it is well cut, but lacks the force of the 
 Italian. The tone is sweet, without much power. 
 
 BERROIT, Brussels, 1750. 
 
 BERTRAND, i8ih century. A very good maker, in the 
 style of Jacques Bocquay. The varnish is not equal to that of 
 the maker named. 
 
 BERNADEL, Paris. The instruments of this maker are 
 made with care, and the wood judiciously selected. They are 
 similar to those of Gand. 
 
 BORVIN, Claude, i7th century. Careful workmanship. 
 The thicknesses not very correct. 
 
 BOURDAT, Sebastian, Mirecourt, 1620. One of the earliest 
 Violin makers in Mirecourt, who possibly, in conjunction with 
 Tywersus, founded the manufacture in that now widely-known 
 town. 
 
 BOULLANGIER, London, now living. Has made several 
 excellent copies, particularly Tenors. 
 
 BRETON, Le, Paris. Common-place instruments. Large 
 pattern, usually stamped with name inside. 
 
 CASTAGNERY, i8th century. He made several Violoncellos 
 of good quality. Varnish of a light colour. 
 
CASTAGNERV, Jean Paul, Paris, 1635 1665. One of the 
 best makers of the old French school. 
 
 CASTAGNERY, Andrea, Paris. 
 
 CHANOT, Georges, Paris, now living. Throughout life has 
 been a most indefatigable worker. He has made a very large 
 number of copies of Stradiuarius and Guarnerius, chiefly of 
 the former, which are also the best. They are well con- 
 structed instruments, and the wood is of an excellent descrip- 
 tion. He has long been known as a dealer in Cremonese 
 instruments, and many notable rarities have been in his pos- 
 session. He retired from active pursuits some few years since, 
 and now divides his time between fiddles and farming. 
 The instruments of this maker will at no distant date be 
 valued much more than they are at the present time. 
 
 CHANOT, George, London. Son of Georges Chanot, Paris. 
 Assisted Charles Maucotel, and a short time afterwards started 
 in business on his own behalf. 
 
 CHANOT, , Paris. Another son of Georges Chanot, Paris. 
 
 CHANOT. Sons of George Chanot, London. 
 
 CHAPUY, Augustinus, Paris about 1765. His instruments 
 are chiefly of large pattern ; nearly all are branded on the button, 
 in a similar manner to those of the Testore family. Chapuy 
 differed greatly in his work. In those instances in which he 
 used plenty of wood we have instruments of a good kind and 
 worthy of attention. There are many, however, having his 
 brand that are scarcely fit to be called Violins, so inferior is the 
 work and wood. 
 
 CHEVRIER, Paris. 
 
 CLAUDOT, Charles, possibly dated from Mirecourt. The 
 workmanship is heavy ; varnish mostly yellow. His instru- 
 ments are good for orchestral purposes. His name is generally 
 found stamped on the back inside. 
 
 CUNI, i8th century. 
 
 DAVID. Maker to the court of Louis XVI. 
 
 DE COMBLE, Ambroise, Tournay, 17301760. Was one 
 of the best makers of the old French school. It is said that he 
 worked in the shop of Antonius Stradiu- 
 Fait a Tournay par arius, and judging from the character of 
 Ambroise de Comble, 1750 the work, together with that of the var- 
 nish, I think it not unlikely that he did 
 
 receive instructions from the great Cremonese maker. The 
 varnish is quite of the Italian type ; the colour often a rich red, 
 with much body. His instruments are inclined to roughness as 
 regards workmanship, and therefore are not pleasing to the eye. 
 There is a resemblance to the instruments of Stradiuarius after 
 1732 in form though not in workmanship, and he would there- 
 fore seem to have copied those late instruments. They may be 
 described as of large pattern, flat model, and having an abun- 
 dance of wood. They are deserving of attention both from the 
 
FRENCH MAKERS. 77 
 
 professor and the amateur, the workmanship being skilful and 
 the material excellent. The tone is large, and frequently pos- 
 sesses the richness so much admired in the works of the Italians. 
 This quality is traceable to the soft and flexible nature of the 
 superior varnish with which these instruments are covered. 
 Several Violas and Violoncellos are extant which were made 
 by De Comble. 
 
 DESPONT, Antoine, Paris, early in iSth century. Made 
 several excellent instruments of various patterns. 
 
 FALAISE. Copied the Amatis and Stradiuarius. The work- 
 manship may be likened to that of Pique. Varnish yellow and 
 thin. Thicknesses well observed. There is no indication of a 
 resort to any maturing process. Wood frequently handsome. 
 
 FENDT, Paris, 1780. A maker well known among connois- 
 seurs ; related to the Fendts who worked in London. 
 
 FLEURY, Benoist, Paris, 1718. 
 
 FOURRIER, Nicholas, Mirecourt. 
 
 GAND, Francois, Paris. He became the pupil of Nicholas 
 Lupot in the year 1802. During his apprenticeship he proved 
 himself an excellent maker, and was much valued by his famous 
 instructor. He married the daughter of Lupot, and succeeded 
 him in the Rue Croix des Petits Champs in the year 1824. The 
 career of Francois Gand was one of much activity. As a repairer 
 of the works of the great masters he early obtained a high repu- 
 tation, and perhaps restored more valuable instruments than 
 any repairer of his time. The care he took and the judgment 
 he exercised in endeavouring to bring together the various 
 broken parts of an imperfect instrument, that the original ap- 
 pearance might be maintained as closely as possible, cannot be 
 too highly praised. He often accomplished seeming impossi- 
 bilities. Splintered cracks were by his ingenuity closed as 
 though no fibre had been severed, while at other times, pieces 
 were inserted so deftly that the most experienced eyes fail to 
 detect their presence. It was with him a labour of love, and he 
 did not scruple to spend days over work on which others would 
 spend hours. He made many Violins, several of which were 
 given as prizes at the Paris Conservatoire. They are well made 
 instruments, but have a heavy appearance scarcely to be ex- 
 pected from the hands of so skilled a repairer. They are good 
 serviceable instruments for professional use in orchestras and 
 for practice. Time may, however, mellow them sufficiently for 
 lighter purposes. He died in the year 1845, leaving two sons. 
 
 GAND, Eugene, Paris. Son of Frangois. 
 
 GAND, Paris. 
 
 GAVINIES, Paris> 1734. Old French school. Well made ; 
 capital varnish ; good wood. 
 
 Gavinies, rue 
 
 S. Thomas du Louvre, 
 
 a Paris, 1734. 
 
78 THE VIOLIN. 
 
 GROSSET, Paul. Pupil of Claude Pierray. 
 
 GUERSAN, Louis, 1766. Made many excellent instruments. 
 
 Ludovicus Guersan prope Comoediam Gallicam, 
 Lutctix, Anno 1766. 
 
 LAGETTO, Paris, ryth century. Chiefly of the Amati pattern. 
 LAMBERT, Nancy, iSth century. 
 LECLAIR, Paris. 
 
 Louis, Geneva. Copied Stradiuarius, but indifferently. 
 LOUVET. 
 
 LUPOT, Francois, Stuttgard. The father of Nicholas, the 
 famous maker. Fran?ois removed with his son to Orleans in 
 the year 1785, where they obtained good patronage. 
 
 LUPOT, Nicholas, son of Francois, born at Stuttgard in 1758, 
 
 removed with his father to Orleans in 1785, where he remained 
 
 nine years. He established him- 
 
 N. Lupot fils, Luthier, self in Paris in 1794, his fame hav- 
 
 rue d'llliers, a Orleans, 1'An 1791 ing reached that city some time 
 
 before. The attention which he 
 
 soon received from the musical world of Paris proved to him 
 
 that his removal was advantageous. He had not long been in 
 
 Paris before he was honoured with 
 
 Nicholas Lupot, Luthier, rue de the patronage of the Conservatoire 
 Grammont; a Paris, 1'an 1798 of Music, an honour which is at- 
 tended with many benefits, the chief 
 
 of which is the making of a Violin annually to be awarded as a 
 
 prize to the most successful student among the Violinists. By 
 
 this arrangement the maker has an 
 
 Nicholas Lupot, Luthier, rue Croix opportunity of exercising to the 
 
 des-petits-champs, a Paris, 1'an 1817 best advantage all the skill of which 
 he is capable, as he is at once aware 
 
 that the attention of the public is directed to the constructor of 
 the prize as well as to the receiver, and that an immediate road 
 to popularity is thus opened. Lupot's appointment as maker 
 to the Conservatoire was enjoyed by his successor, Francois 
 Gand, and is still retained by the latter's two sons, in conjunc- 
 tion with Bernadel. Nicholas Lupot may be justly termed the 
 French Stradiuarius. He was an artist in every sense of the 
 word. He regarded the works of Stradiuarius with the utmost 
 veneration. While, however, he laboured unceasingly to imi- 
 tate him, he scorned all those mischievous maturing processes 
 common to the majority of French copyists ; he never desired 
 that his copy should pass with the unwary as the original ; in 
 fact, of such a fraud his high sense of honour rendered him in- 
 capable. There is not an instance in which he did not varnish 
 the copy all over, leaving time to do its work of wear, although 
 by so doing he doubtless sacrificed much in his own time, inas- 
 much as all new Violins so varnished have a crude appearance, 
 notwithstanding any amount of high finish expended upon them. 
 
FRENCH MAKERS. 79 
 
 What, however, Lupot lost in his day has been awarded to his 
 name a hundredfold since. He seldom occupied himself in 
 copying Guarnerius or Amati, although there are a few beautiful 
 examples met with now and again in which he adopted these 
 forms. Stradiuarius was his idol, and from the fact already 
 mentioned, that he is most rarely found to be working on any 
 other model than that of Stradiuarius, he would seem to be 
 specially aware of his own peculiar fitness for the great master's 
 design. Every feature of Lupot's instruments was clearly a 
 matter of study with him. It cannot be said of him, as of most 
 other makers, that certain points are good, while others are 
 weak. Every portion of his work contributes to the harmonious 
 whole. The outline is perfect ; the sound-hole is executed in a 
 masterly manner ; the model, purfling, and scroll of equal merit. 
 He was untouched in his own day, and his productions have 
 never been approached since. It may safely be said that Lupot 
 is the king of modern makers, and as time rolls on the more 
 will his works be valued. The varnish of Lupot is peculiar to 
 him. Its qualities are good, being free from hardness. Though 
 it is not of the Italian type, neither is it of the kind usually met 
 with on the Violins of his contemporaries : it may be described 
 as a quality of varnish coming between the Italian and French. 
 Its property of tone is very mellow, and its colour varies between 
 light and dark red. Age has wonderfully assisted in heighten- 
 ing its lustre, and although it will never rank with the varnish 
 of Cremona, yet it will occupy a foremost place among the 
 varnishes of modern times. It is said that many instruments 
 having the name of Pique in them are the work of Lupot, and 
 this misnomer is accounted for by the story that Pique purchased 
 them in an unvarnished state, and varnished them with his 
 preparation. Be this as it may, it is certain that the varnish of 
 Pique has not served to benefit these instruments ; on the con- 
 trary, it has derogated considerably from their value. The tone 
 of Lupot's instruments improves yearly. The quality is round 
 and telling, and free from roughness. He died in Paris in 1824, 
 aged 66, and was succeeded in his business by his son-in-law, 
 Francois Gand. 
 
 MEDARD, Nicholas, Nancy. One of the early French 
 makers. 
 
 MEDARD, Franciscus, Paris, 1710. Stradiuarius pattern, 
 good varnish. 
 
 Franciscus Medari 
 fecit Parisiis 1710. 
 
 MEDARD, Jean, Nancy. Similar to the above. 
 
 MiREMONT, Paris. Exhibited at the Paris Exhibition a 
 Violin with a second sound bar. Experiments of this nature 
 are harmless enough when performed upon modern instru- 
 ments, but cannot be too strongly deprecated when old and 
 
8o TIII-: r/o/./x. 
 
 rare works are subjected to such levity. An American, some 
 years since, patented an invention where a second sound bar 
 was made to run from block to block, and for the insertion of 
 this freak many valuable Violins were so wantonly sacrificed 
 that their original blocks were cut down. The results, as might 
 be expected, were anything but satisfactory, and necessitated 
 the removal of the improvement and the substitution of entirely 
 new blocks. The invention of Miremont has shared a similar 
 ignominious fate ; but, fortunately, few old instruments were 
 subjected to the torture which ripped open their bellies in order 
 to add a new organ to their interior. 
 
 By all means preserve your Violins from falling into the 
 hands of enthusiastic inventors ! 
 
 Mirernont has made several excellent Violins, copies of 
 Stradiuarius and Guarnerius. 
 
 MODESSIER, Paris, 1810. Made several instruments of 
 large pattern, excellent for orchestral purposes. Wood of good 
 quality. 
 
 NAMY, Paris, 1800. 
 
 NICHOLAS. The instruments of this maker are chieHy of 
 large size, the outline being after that of Stradiuarius. They 
 are mostly stamped on the back, inside. Colour, yellow ; tone 
 very powerful, and admirably adapted for the orchestra. 
 NIGGEL, Paris, tyth century. 
 OUVRARD, pupil of Claude Pierray. 
 
 PAUL, Saint, Paris, ijth century. Chiefly copied Amati. 
 In the style of Bqcquay. 
 PICHOL, Paris. 
 
 PIERRAV, Claude, Paris, 1725. Was an excellent workman, 
 and many of his productions partake of the Italian character to 
 a considerable extent. They are of two pat- 
 Claude Pierray, terns, the majority being large. Amati would 
 proche la Comedie seem to have been his model, but his instru- 
 a Paris, 1725. ments can scarcely be considered copies of 
 that maker, the outline only being retained, 
 while the other features are dissimilar. The wood is rarely 
 handsome, but its quality is good. The thicknesses are varia- 
 ble. The work is of average merit. Varnish is of a pale red 
 colour, of good quality. 
 PIERROT, Lyons. 
 
 PIETE, Noel, Paris, 1780. Made many Violins, having good 
 points. 
 
 PIQUE, Paris, 1792. As a copyist of Stradiuarius, this 
 maker approached, perhaps, nearest to Nicholas Lupot. It has 
 been supposed that many Violins bear- 
 Pique, rue de Crenelle ing the name of Pique were made by 
 St. Honore, au coin de celle Lupot, and varnished only by Pique. 
 des 2 Ecus, a Paris, 1790 This, however, is pure conjecture, 
 which the marked dissimilarity between 
 
FRENCH MAKERS. 8z 
 
 the works of Pique and that of Lupot at once disposes of. 
 There are several specimens of Pique's instruments upon which 
 have been lavished care and skill of a very high order. Each 
 feature is brought out, while, at the same time, that common 
 error of the copyist, exaggeration, is avoided. The scrolls are 
 well executed both in point of finish and style ; the sound-hole 
 also is cut with precision. Many of his instruments have whole 
 backs of well-chosen material ; the bellies are all of fine quality 
 of wood. The instruments of Pique have long been esteemed, 
 and will grow in reputation. 
 
 PONS, Paris. 
 
 PONS, Grenoble, 1790. 
 
 RAMBEAUX, Paris, 1840 1860. Was a clever repairer, and 
 gifted with excellent judgment in his treatment of the works of 
 the old masters. He was at one time in the workshop of Gand. 
 
 RANT. 
 
 REINAULT, i6th century. 
 
 REMY, London, 1840. Originally from Paris. Copied the 
 old masters with average ability but unfortunately adopted the 
 pernicious practice of preparing the wood, making his instru- 
 ments prematurely old without the qualities of healthy age. 
 
 SALLE, Paris, 1830. Made several copies of Guarnerius, 
 many of which are excellent. He was also a clever restorer of 
 old instruments, and had a critical eye for the works of the old 
 Italian masters, in which he dealt to some extent. 
 
 SALZAR. Made Violins of the character of Chapuy, but 
 with inferior varnish. 
 
 SAUNIER, 1740. 
 
 SOQUER, Louis, Paris, 1750. Neat workmanship. Narrow 
 pattern ; long middle bouts ; yellow varnish. 
 
 SVLVESTRE, Lyons, 1835. A maker of rare abilities. The 
 finish of his instruments is of the highest order ; indeed, it would 
 be difficult to find any maker within the range of the modern 
 French school who has surpassed him in delicate workmanship. 
 It may be said of him, as of many others, that extreme fineness 
 of work is obtained often at the expense of character ; to 
 develope both necessarily needs the mind of a Stradiuarius. 
 Sylvestre was fortunate in procuring wood of beautiful quality ; 
 there is scarcely an instrument of his which is not handsome. 
 He copied Stradiuarius. It is to be regretted that so few of his 
 works are to be met with. 
 
 THERESS, London. 
 
 THIBOUT, Paris, 1824. A well-known dealer in rare Italian 
 instruments. To him belongs the merit of having encouraged 
 Louis Tarisio to bring to Paris his Cremonese gems. When 
 Tarisio paid his first visit to Paris the reception that he met 
 with, was not of such a nature as to warrant his returning ; but 
 having" ultimately decided upon once more visiting the French 
 capital, he met with Thibout, who, by earnest solicitation, 
 
Sf THE VIOLIN. 
 
 prevailed on him to remove his rich wares permanently to 
 Paris. 
 
 TYVVERSUS, i6th century. Probably the earliest maker of 
 Violins in France. He worked near Mirecourt. 
 
 VAILLOT, Paris. 
 
 VALLER, Marseilles, 1700. 
 
 VERON, Paris, 1720 1750. 
 
 VUILLAUME, John, Mirecourt, 1700 1740. 
 
 VUILLAUME,). B., Paris, born 1799, died 1875. There are 
 upwards of 2,500 Violins which bear his name. Many of these 
 he made throughout. The early ones are much appreciated, 
 and having been wisely varnished all over at first, now begin 
 to show the good results of such handling. The career of 
 Vuillaume was singularly eventful. Commencing life from the 
 first stage of the ladder, he gradually mounted to the highest 
 by the help of the usual nurses of fortune, skill and persever- 
 ance. He was a great lover of Cremonese instruments, and 
 was intimately associated with Tarisio. At the death of the 
 celebrated Italian connoisseur he purchased the whole of his 
 collection. Among them were the " Stradiuarius " exhibited 
 at the Exhibition of 1862, and the Double-Basses by Gaspard 
 di Salo and Carlo Bergonzi, the latter of which is at present in 
 my possession. 
 
 VUILLAUME, N. F., Brussels. Brother of the above. Well 
 known both as a maker and connoisseur. 
 
SECTION IX. 
 THE ENGLISH SCHOOL. 
 
 IT is somewhat remarkable that the Continental writers on 
 the Violin should have omitted to mention any English 
 maker, either ancient or modern. Such an omission must 
 have occurred either from want of information concerning our 
 best makers, or, if known, they must have been deemed 
 unworthy of the notice of our foreign friends. There is no 
 mention of an English maker in Fetis's treatise on Antonius 
 Stradiuarius, although numerous very inferior German and 
 Italian makers are quoted. The same omission is also, con- 
 spicuous in '' Luthomonographie " and "Otto on the Construc- 
 tion of the Violin." It may be that Continental connoisseurs 
 have credited themselves with the works of our best makers, 
 and expatriated them, while they have inexorably allowed bad 
 English fiddles to retain their nationality. However, it is my 
 desire that my foreign brothers should be enlightened on this 
 point, and in all candour informed of the array of makers that 
 England has at different times produced, and is yet capable of 
 producing, did but the new Violin command the price that 
 would be a fair return for the time and skill required in the 
 production of an instrument at once useful and artistic. It will 
 be my endeavour to show forth the qualities of those of our 
 makers whose names, as yet, seem never to have crossed the 
 Channel, so that when these pages on the English school are 
 read by distant connoisseurs, and the merits and shortcomings 
 of the makers therein are fairly weighed by them, the good 
 shall be found so to outweigh the indifferent as to entirely 
 change the opinions formed of us as makers of the leading 
 instrument. 
 
 Until within the last 30 years makers of Violins in England 
 would appear to have been comparatively numerous, if we take 
 into consideration the undeveloped state of stringed instrument 
 music at that period in this country. Among those makers 
 were many of no ordinary genius, men who worked lovingly, 
 guided by motives distinct from commercial gain, as long as 
 they were allowed to live by their work. When, however, the 
 -duties on foreign musical instruments were removed, the effect 
 was to partially swamp the gallant little band of fiddle makers, 
 who were quite unable to compete with the French and German 
 makers in price (not excellence, be it distinctly understood, for 
 we were undoubtedly ahead of our foreign competitors, both in 
 
 (83) 
 
84 THE VIOLIN. 
 
 style and finish at this period). The prices commanded by 
 many English makers previous to the repeal of the duty were 
 thoroughly remunerative. Five to twenty pounds were given 
 for English Violins, while Violoncellos and Tenors commanded 
 prices proportionately high. The English Violin makers were 
 thus enabled to bestow artistic care in the making of their 
 instruments. When, however, they were suddenly called upon 
 to compete on equal terms with a legion of foreign manufactur- 
 ers, the result was not so much that their ardour was damped, 
 as that they themselves were extinguished, and served as an- 
 other instance of the truth of the adage that the good of the 
 many is the bane of the few. 
 
 In matters of magnitude, whether artistic or otherwise, 
 competition is undoubtedly healthy, their being always a small 
 body of patrons who are willing to check the tendency to dete- 
 riorate, common to all productions, by encouraging the worker 
 with extra remuneration, in order that a high degree of excel- 
 lence may be maintained ; but in matters confined to a small 
 circle, as in the case of Violin making, the number of those 
 willing to encourage artistic workmanship is so minute as to 
 fail even to support one maker of excellence, and thus, when 
 deprived suddenly of its legitimate protection, the art, with 
 other similar handicrafts, must drift into decadence If we look 
 around the Violin world, all is much the same. In Italy there 
 are no Stradiuariuses in embryo, in France no coming Lupot, 
 in Germany no Jacobus Stainer, and in England no future Banks 
 or Forster. Why so? The answer is twofold. Partly there is 
 fault in the demand, arising from the marked preference of this 
 age for cheapness at the expense of goodness ; partly, too, there 
 is fault in the supply, a foolish desire on the part of the makers 
 to give maturity to their instruments, wherein they always com- 
 pletely fail, and yet will not give up their conceit. Here, again, 
 were we dealing with matters of more magnitude, the evil influ- 
 ence would be lessened, the artistic impulses would still be felt, 
 though in a less degree ; whereas, so contracted is the circle of 
 the Violin world, that under any stress the support given to 
 makers willing to bestow an artist's care on their work is totally 
 inadequate. 
 
 The case of modern Violin makers is unfortunate. Old 
 Violins being so immeasurably superior to modern productions, 
 the demand must necessarily set steadily for the former, and 
 the modern maker has only the few patrons of new work to 
 support him. It cannot be expected that the players of to-day 
 should patronize the modern Violin in order that the next 
 generation should reap the benefit. Years since it was quite a 
 different matter. The makers were well paid for their work, 
 and new instruments were then made to supply wants similar 
 to those which the horrid Mirecourt copy fulfils at present. As 
 with other things, so is it also with Violins ; if they are to be 
 
THE ENGLISH SCHOOL. 85 
 
 produced with the stamp of artislic merit, they must be paid 
 for accordingly ; without patronage the worker necessarily be- 
 comes careless. Finding that his skill fails to attract attention, 
 he gradually sinks down into the mere routine of the ordinary 
 workman. When Italy shone brightest in art, the patronage 
 and remuneration which the workers received was consider- 
 able. Had it been otherwise, the powers of its Raphael, its 
 Cellini, and last (though not least to the admirers of the Violin), 
 its Stradiuarius would have remained simply dormant. Art, 
 like commerce, is regulated in a great measure by supply 
 and demand. In Raphael's day, sacred subjects were in 
 demand ; the Church was his great patron, and thus aided him 
 in bringing forth the gift which nature had implanted within 
 him. In modern times, landscape painting became the favoured 
 subject, particularly in England ; the result of which preference 
 has been to place us in the foremost rank in that branch of art. 
 The stage furnishes another instance of the effect that patronage 
 has in Bringing forth latent talent. If the history of dramatic 
 art be traced, it will be found that its chief works were written 
 when the tastes of an appreciative public could be securely 
 counted upon. As it waned so the writers of merit became 
 rarer, or perhaps it would be more correct to say, the plays 
 produced became less meritorious, the authors being con- 
 strained to pander to the prevailing taste. 
 
 _As further evidence of the effect of patronage on art, a 
 case in point is found in the fabric of Venetian glass. The 
 Venetians, centuries ago, became famous for their works in 
 glass, and the patronage they enjoyed was world-wide ; but 
 their country being thrown into an unsettled condition, capital 
 drifted from it, until the blowing of glass, together with other 
 industries, was comparatively extinguished. Within the past 
 few years the art of making glass has shown signs, even in 
 Venice itself, of reviving with all its former vigour in the work- 
 shops of Salviati, the success of which is due in great measure 
 to English capital. 
 
 With regard to English Violin manufacture, there would 
 be no reason why Violins should not, at the present moment, 
 be produced in England which should fully reach the standard 
 of merit maintained in our forefathers' days, if only the patron- 
 age of the art occupied a larger area. The present dearth of 
 English makers does not arise from any national want of talent 
 for this particular handicraft ; in fact, we have plenty of men 
 quite as enthusiastic as our foreign friends for a vocation which 
 in England also must be pronounced to be alike venerable in 
 its antiquity and famed for the dexterity of its genius. 
 
 The earliest makers of Viols in England seem to have 
 been Jay, Smith, Bolles, Ross, Addison, and Shaw, names 
 thoroughly British. We may take this as good evidence that 
 the making of Viols in England originated with the English, 
 
,s'<5 THE VIOLI.\\ 
 
 and was not commenced by settlers from the Continent. 
 Doubtless the form of the English Viol and its brethren was 
 taken from the Brescian makers, there being much affinity be- 
 tween these classes of instruments. In the few Violins extant 
 by Christopher Wise the Italian character about them is very 
 striking. In them we see a flat model, excellent outline, and 
 varnish of good quality. The Viols of Jay have the same 
 Italian character. Later on we have names of some reputa- 
 tion Rayman, Urquhart, and Barak Norman. In the absence 
 of any direct evidence as regards the nationality of these 
 makers it is requisite to endeavour to trace the style belonging 
 to their works. It will be observed that there was a great im- 
 provement in the style of work and varnish of instruments 
 made in England commencing with the time of Rayman, and 
 it is probable that this step in advance was obtained from in- 
 tercourse with Italy or the German Tyrol. Starting with Ray- 
 man, there is a German ring in the name which makes me 
 think that he came from Germany, and, if so, brought with him 
 the semi-Italian character of work common to the makers who 
 lived so near Brescia. If the work and style of Rayman be 
 carefully examined, it will be seen that it embraces much in 
 common with the inferior Brescian makers. The outline is 
 rugged, the sound-hole is of that Gothic form peculiar to 
 Brescia, the head is distinct from that of the early English type. 
 At the same period Urquhart made instruments of great merit, 
 the varnish of which is superior to that of Rayman's, but is evi- 
 dently composed of similar ingredients. Its superiority may- 
 have arisen from a different mode of mixing only. The name 
 of Urquhart has a North British sound, and it is probable that 
 he was born in Scotland, and settled in London as an assistant 
 to Rayman, who would impart to him the style of foreign 
 work. 
 
 The semi-Italian character pervading the instruments made 
 in England at this period seems to have culminated in the pro- 
 ductions of Barak Norman, whose best works bear even a more 
 marked Brescian character than those of Rayman. The model 
 varies very much, sometimes being high, at other times very 
 flat ; in the latter case the results are instruments of the Mag- 
 gini type. Barak Norman frequently doubled-purfled his in- 
 struments, and inserted a device in the purfling, evidently 
 following Maggini in these particulars. With Barak Norman 
 ends the list of English copyists of the Brescian makers. 
 
 We now arrive at the copyists of Jacobus Stainer and the 
 Amatis, a class of makers who possessed great abilities, and 
 knew how to use them. The first name to be mentioned is 
 Benjamin Banks, of Salisbury, who may with propriety be 
 termed the English Amati. He was the first English maker 
 who recognised the superior form of Amati's model over that 
 of Stainer, and devottd all his energies to a successful imita- 
 
THE ENGLISH SCHOOL. 87 
 
 tion. Too much praise could not be lavished on Banks for the 
 example which he selected for himself and his fellow makers. 
 
 Next follow the names of Forster, Duke, Hill, Wamsley, 
 Belts, Gilkes, Hart, and Kennedy, together with those of 
 Panormo, Fendt, and Lott, who, although not born in England, 
 passed the greater part of their lives here, and therefore require 
 to be classed with the English school. The mention of these 
 makers will bring the reader to the present time. 
 
 Upon scanning this goodly list there will be found ample 
 evidence that we in England have had makers of sufficient 
 merit to entitle us to rank as a distinct school, a school of no 
 mean order. We may, therefore, assume that Continental 
 writers who from time to time have published lists of makers 
 of the Violin, and have invariably ignored England, have erred 
 through want of information regarding the capabilities of our 
 makers, both ancient and modern. 
 
 The following list will be found to enumerate nearly the 
 whole of the English makers, and the distinctive character of 
 their separate works. 
 
SECTION X. 
 
 ENC; I.ISH MAKERS. 
 
 BSAM, Thomas, Wakefield, 1833. 
 
 Made by 
 
 Thomas Absam, 
 
 Wakefield, Feb. 14, 
 
 1833. 
 
 ADAMS, Garmouth, Scotland, 1800. 
 
 ADDISON, William, London, 1670. 
 
 AIRETON, Edward. Was originally employed in the work- 
 shop of Peter Wamsley, at the " Harp and Hautboy," in Picca- 
 dilly. He made a great many excellent Violins and Violon- 
 cellos, and chiefly copied Amati. Varnish of fair quality; 
 colour, yellow. He died, at the advanced age of 80, in the 
 year 1807. 
 
 ALDRED, 1560. One of the earliest makers of Viols in 
 England, who possessed a considerable reputation. 
 
 ASKEV, Samuel, London, 1825. 
 
 BAINES, 1780. 
 
 BAKER, Oxford, i8th century. 
 
 BALLANTINE, Edinburgh and Glasgow, 1850. 
 
 BANKS, Benjamin, Salisbury, born 1727, died 1795. To this 
 
 famous maker must be given the foremost place in the English 
 
 school. He was a thorough artist, and would 
 
 Benjamin Banks not have been thought lightly of had he worked 
 
 Fecit in Cremona's school, and been judged by its 
 
 Salisbury. standard. This may be considered excessive 
 
 praise of our native maker ; but an unprejudiced 
 
 judge of work need only turn to the best specimens of Bank's 
 
 instruments, and he will confess 
 Benjamin Banks, that I have merely recorded a. fact. 
 
 Musical instrument Maker, Banks is, again one of the 
 
 lii Catherine Street, Salisbury, 1780. many instances of men who have 
 
 gained a lasting reputation, but 
 
 whose histories have never reached the light to which their 
 names have attained. How interesting would it be to obtain 
 the name of his master in the knowledge of making instru- 
 ments ! No clue whatever remains by which we could arrive at 
 a satisfactory conclusion on this point. That he was an enthu- 
 siast in his art is certain, and also that he was aware to some 
 
 (88) 
 
ENGLISH MAKERS. Sy 
 
 extent that he possessed talent of no mean description. This 
 is evidenced by the fact that many of his instruments are 
 branded with the letters B. B. in several places, as though he 
 felt that sooner or later his works would be highly esteemed 
 and would survive base imitations, and that by carefully brand- 
 ing them he might prevent any doubt as to their author. Many 
 of his best instruments are found to have no brand : it would 
 seem, therefore, that he did not so mark them for some time. 
 He appears to have early formed an attachment to Nicholas 
 Amati, and laboured unceasingly in imitation of him, until he 
 copied him with an exactness difficult to surpass. Now that 
 time has mellowed his best works, they might pass as original 
 Amatis with those not perfectly versed in the characteristics of 
 the latter. Many German makers excelled as copyists of Amati, 
 among others Schonger, of Erfurt, and Massert ; but these 
 makers failed in their varnish, whereas Banks was most happy 
 in this particular, both as regards colour and quality. If his 
 varnish be closely examined, its purity and richness of colour 
 is readily seen. It has all the characteristics of fine Italian 
 varnish, being beautifully transparent, mellow, and rich in its 
 varieties of tints. It must be distinctly understood that these 
 remarks apply only to the very finest works of this maker, there 
 being many specimens which bear the label of Banks in the 
 framing of which he probably took but a small share, leaving 
 the chief part to be done by his son and others. Banks cannot 
 be considered as having been successful in the use of his 
 varnish on the bellies of his instruments, as he has allowed 
 it to clog the fibre, a blemish which affects the appearance 
 very much, and has been the means of casting discredit on 
 the varnish among those unacquainted with the real cause. 
 The modelling is executed with skill, thicknesses being 
 carefully arranged throughout. Fortunately, too, for his in- 
 struments, sufficient wood has been left in them to enable 
 time to exert its beneficial effects, a desideratum overlooked 
 by many makers of good repute. The only feature of his 
 work, which can be considered as wanting in merit is the 
 scroll, which is somewhat cramped, and fails to convey the 
 meaning intended, viz., the following of Amati ; but as this 
 is a point having reference to appearance, and, therefore, 
 solely affecting the connoisseur, it may be passed over lightly, 
 and the more so when we consider that Banks was not the 
 only clever workman that has failed in head cutting. He made 
 Violins, Tenors, and Violoncellos, all excellent ; but the latter 
 have the preference. His large Violoncellos are the best ; 
 those of the smaller pattern are equally well made, but 
 lack depth of tone. The red-varnished instruments are the 
 favourites. 
 
 BANKS, Benjamin, son of the above, born in September, 
 1754 ; died, January, 1820. Worked many years with his father 
 
90 THE VIOLIN. 
 
 at Salisbury, afterwards removed to London, and lived at 30, 
 Sherrard Street, Golden Square. 
 
 BANKS, James. Brother of the above. For some years 
 
 carried on the business of his father at Salisbury, in conjunction 
 
 \\itli his brother Henry. They ulti- 
 
 james and Henry Banks, mately sold the business and removed 
 Musical instrument Makers to Liverpool. The instruments of 
 and Music Sellers, Jimes and Henry Banks are of aver- 
 
 18 Salisbury. 02 age merit. 
 
 BARNES, Robert, 1780. Worked 
 
 with Thomas Smith at the Harp and Hautboy in Piccadilly. 
 Afterwards partner with John Norris. 
 
 BARRETT, John, 1718. An average workman, who followed 
 the model of Stainer. His shop 
 
 James Barrett, at the Harp and Crown bore the sign of the Harp and 
 
 m Piccadilly, 17 Crown. Barrett was one of the 
 
 earliest copyists of Stainer, and 
 
 in the chain of English makers is linked with Barak Norman 
 
 and Nathaniel Cross. The 
 
 Made by John Barrett at ye Harp and wood is generally of a very 
 
 Crown in Piccadilly, London, 17- good quality, the varnish yel- 
 low. 
 
 BARTON, George, 1810. 
 
 BETTS, John, born 1755, at Stamford, Lincolnshire, died in 
 1823. Became a pupil of Richard Duke. 
 Jo. Betts, No. 2, He commenced business in one of the shops 
 near Northgate the of the Royal Exchange, where he soon en- 
 Royal Exchange, joyed considerable patronage. The busi- 
 London, 17 ness was carried on by his descendants till 
 
 within the last few years. 
 
 John Betts does not appear to have made a great number 
 of instruments, but employed many workmen, whose names 
 will be found noticed in their order, into whose instruments he 
 inserted his trade label. He was, perhaps, the earliest London 
 dealer in Italian instruments. 
 
 BETTS, Edward, also a pupil of Richard Duke, copied 
 his master with considerable skill. Of course in trying 
 to imitate Duke he was copying Amati. Richard Duke 
 having spent his life in working after the Amati pattern, 
 without attempting to model for himself. The care bestowed 
 by Edward Betts on his instruments was of no ordinary kind. 
 The workmanship throughout is of the most delicate descrip- 
 tion ; indeed, it may be said that neatness is gained at the 
 expense of individuality in many of his works. Each part 
 is faultless in finish, but when viewed as a whole the 
 result is too mechanical, giving as it does the notion of 
 its having been turned out of a mould. Nevertheless, this 
 maker takes rank with the foremost of the English copyists, 
 and in his instruments we have as good specimens of 
 
ENGLISH MAKERS. 9 t 
 
 undisguised work as can be readily found. They will be 
 yearly more valued. 
 
 BOLLES. Made Lutes and Viols. 
 
 BOOTH, William, 1779, Leeds. 
 
 BOOTH, son of the above, Leeds. 
 
 BOUCHER, London, 1764. 
 
 BROWN, James, London, born 1670, died 1834. Worked 
 with Thomas Kennedy. 
 
 BROWN, James, London, son of the above, born 1786, died 
 1860. 
 
 CAHUSAC, London, 1788. Associated with the sons of 
 Banks. 
 
 CARTER, John, London, 1789, worked with John Betts. 
 
 CHALLONER, Thomas, London. Similar to Wamsley. 
 
 CLARK, London. Little known. 
 
 COLE, Thomas, London, 1690. 
 
 Thomas Cole, near Fetter Lane 
 in Holborn, 16 
 
 COLE, James, Manchester. 
 
 COLLIER, Samuel, 1750. 
 
 COLLIER, Thomas, 1775. 
 
 COLLINGWOOD, Joseph, London, 1760. 
 
 CONWAY, William, 1750. 
 
 CORSBY, Northampton, 1780. Chiefly made Double- 
 Basses. 
 
 CORSBY, George. Lived upwards of half a century in 
 Princes Street, Leicester Square, where he worked and dealt 
 in old instruments. 
 
 CRAMOND, Charles, Aberdeen. 
 
 CRASK, George, Manchester. Has made a great number 
 of instruments of the common class, having similar character- 
 istics with the modern copies. 
 
 CROSS, Nathaniel, London, 1720. Worked with Barak 
 Norman. 
 
 CROWTHER, John, 1760 1810. 
 
 CUTHBERT, London, i7th century. Maker of Viols and 
 Violins. Many of the latter have merit. Model flat, and wood 
 of good quality. Very dark varnish. 
 
 DAVIDSON, Hay, Huntley, 1870. 
 
 DAVIS, Richard. Worked with Norris and Barnes. 
 
 DAVIS, William, London. Succeeded Richard Davis in 
 the business now carried on by Edward Withers. 
 
 DEARLOVE, Mark, Leeds. 
 
 Dearlove and Fryer, 
 
 Musical Instrument Manufacturers, 
 
 Boar Lane. Leeds, 1828. 
 
gg THE VIOLIN. 
 
 DELANV, John, Dublin. Used two kinds of labels, one of 
 theni very small 
 
 Made by John Delany, 
 
 No. 17, Britain Street, 
 
 Dublin. 1808. 
 
 In the other, which is much larger, he is overflowing with good- 
 will to the human family, and stalwart confidence in his own 
 abilities, which were of a very slender and apocryphal kind. 
 
 Made by John Delany 
 In order to perpetuate his memory in future ages. 
 
 Dublin i8c8. 
 
 Liberty to all the world 
 
 black and white. 
 
 DENNIS, Jesse, London, 1805. Worked with John Crowther. 
 DICKENSON, Edward, London, 1750. Made instruments 
 of average merit. The model is high. 
 
 Edward Dickinson, 
 
 Maker, at the Harp and Crown in the Strand, 
 
 near Exeter Change, 
 
 London. 17 
 
 DICKESON, John, 1750 1780, a native of Stirling. He 
 would seem to have lived at various places, some instruments 
 dating from London and some from Cambridge. He was an 
 excellent workman, and chiefly copied Amati. His work 
 much resembles that of Cappa. 
 
 DITTON, London, 1720. 
 
 DODD, Thomas, son of Edward Dodd, of Sheffield. He 
 
 was not a maker of Violins. Numerous instruments bear his 
 
 name, but they are the work of John 
 
 T. Dodd, . Lott and Bernard Fenclt. The merit of 
 
 Violm, Violoncello these instruments is of the highest order, 
 
 and Bow Maker, and they are justly appreciated by both 
 New Street, player and connoisseur. Thomas Dodd 
 
 Covent Garden. deserves to be mentioned in terms of 
 high praise, notwithstanding that the 
 
 work was not executed by him, for his judgment was 
 brought to bear upon the manufacture during its various 
 stages, and more particularly in the varnishing, in which 
 he took the liveliest interest. He had a method of mixing 
 colours, the superior qualities of which he seems to have 
 fully known, if we may judge from the note on his labels, 
 which runs thus: "The only possessor of the recipe for pre- 
 paring the original Cremona varnish. Instruments improved 
 and repaired." This undoubtedly savours of presumption, 
 and is certainly wide of the truth. Nevertheless there is ample 
 
ENGLISH MAKERS. 93 
 
 evidence that the varnish used by Thomas Dodd was very 
 excellent, and had a rich appearance rarely to be met with in 
 instruments of the English school. Dodd was encouraged in 
 the art of varnish-making by persons of taste, who readily ad- 
 mitted the superior qualities of his composition, and paid him 
 a handsome price for his instruments. He was thus enabled 
 to gratify his taste in his productions by sparing no means to 
 improve them. He ultimately attained such a reputation for 
 his instruments as to command no less a sum than 40 or 50 
 for a Violoncello. Commanding such prices, it is evident that 
 he spared no expense, or, what was to him a matter of still 
 greater importance, no time. He was most particular in receiv- . 
 ing the instrumens in that incomplete stage known in the trade 
 as "in the white," i. e., without varnish. He would then care- 
 fully varnish them with his own hands, guarding most warily 
 the treasured secret of the composition of his varnish. That 
 he never departed from this practice may be inferred from the 
 fact that the varnish made by the workmen in his employ, 
 apart from the establishment, for their own instruments, is of 
 an entirely different stamp, and evidently shows that they were 
 not in their master's secrets. 
 
 The instruments bearing the Dodd label are not valued to 
 the extent of their deserts, and there can be but little doubt 
 that in the course of time they will be valued according to their 
 true merits. They were made by men of exceptional talent, 
 who were neither restricted in price nor material. Under such 
 favourable conditions the results could not fail to be good. 
 
 DODD, Thomas, London. Son of Thomas Dodd, musical 
 instrument dealer, of St. Martin's Lane. The'father was not a 
 maker of Violins, but possessed excellent judgment, both as re- 
 gards work and makers, which enabled his son to profit consid- 
 erably during his early years whilst working with Fendt and Lott. 
 
 DORANT, William, London, 1814. 
 
 DUKE, Richard, 1768. The name of this maker has long 
 
 been a household word with Eng- 
 
 Richd. Duke, lish Violinists, both amateur and 
 
 Londini fecit 17 professional. Who has not got a 
 
 friend who is the fortunate owner 
 
 of a veritable "Duke?" The fame of his majesty Antonius 
 Stradiuarius himself is not greater than that of Richard Duke 
 
 in the eyes of many a Fiddle 
 
 Richard Duke, Maker, fancier. From his earliest fiddling 
 
 Holborn, London. Anno 17 days the name of Duke became 
 
 familiar to him ; he has heard 
 
 more of him than of Stradiuarius, whom he somehow confuses 
 with Cremona. He fondly imagines that Cremona was a cele- 
 brated maker and Stradiuarius something else; inquires, and 
 becomes more confused, and returns again to "Duke," with 
 whom he is thoroughly at home. 
 
<H THE VIOLIN. 
 
 Many excellent judges have wondered how it came to pass 
 that Richard Duke should have been so highly valued, there 
 being, in their estimation, so little amongst his remains worthy 
 of the reputation he gained. The truth is, that no maker, with 
 the exception of the great Cremonese artists, has been so per- 
 sistently counterfeited. The name of Duke has been stamped 
 upon every wretched nondescript, until judges who had not 
 the opportunity of seeing the genuine article mistook the copies 
 for the original, and hence the confusion. When, however, a 
 really fine specimen of Duke is once seen, it is not likely to be 
 forgotten. As copies of Amati such instruments are scarcely 
 Surpassed, varnish, work, and material being of the best de- 
 scription. The copies of Stainer were not so successful. 
 
 DUKE, Richard, London. Son of the above. 
 
 DUNCAN, Aberdeen, 1762. 
 
 EGLINGTON, London, 1800. 
 
 EVANS, Richard, London, 1750. His label is a curiosity 
 
 Maid in the Paris of 
 
 Laniihengel, by Richard 
 
 Evans, Instrument Maker, 
 
 in the year 17 
 
 FENDT, Bernard, born at Innspriick, in the Tyrol, in 1756, 
 died 1832. He was evidently born a Fiddle maker, genius 
 being stamped in a more or less degree upon all his works. To 
 Thomas Dodd belongs the credit of bringing his talent into play. 
 Dodd obtained the services of Fendt upon his arrival in England, 
 which the latter reached at an early age. He remained with 
 Dodd many years, frequently making instruments with John 
 Frederick Lott. The instruments so made bear the label of 
 Thomas Dodd. Lott being also a German, reciprocity of feel- 
 ing sprung up between him and Fendt, which induced Lott to 
 exchange the business to which he was brought up for that 
 which his fellow countryman, Fendt, had adopted, and hence- 
 forth to make Violins instead of cabinets. By securing the 
 services of these admirable workmen, Dodd reaped a rich 
 harvest. He found in them men capable of carrying out his 
 instructions with an exactness that could not have been sur- 
 passed. Dodd was unable to use the tools himself, but in 
 Fendt and Lott he had men who were consummate masters of 
 them. When the instruments were finished as far as construc- 
 tion was concerned, they were clothed in coats of the master's 
 livery " Dodd's varnish," the secret of making which he kept 
 carefully to himself. With these coats of varnish upon them 
 the work was doubly effective, and every point of excellence 
 was made to shine with the happiest effect. Upon leaving the 
 workshop of Thomas Dodd, Bernard Fendt worked for John 
 Betts, making many of those copies of Amati which are asso- 
 ciated with the name of Betts, and which have so high a value. 
 
ANTOMUS STRADIUARIUS. 
 
ENGLISH MAKERS. 95 
 
 Although Fendt was German by birth, his style of work 
 cannot be considered as German in character. Having early 
 quitted his post of trade in Paris for England, and having in 
 this country placed himself under the guidance of Dodd, who 
 steadfastly kept before his workmen the originals of the great 
 Italian masters for models, his work acquired a distinctive 
 stamp of its own, and in its turn gave rise to a new and inde- 
 pendent class of makers. 
 
 FENDT, Bernard Simon, London, born in 1800, died in 
 1851. Son of the above. He was an excellent workman. It 
 is to be regretted that he did not follow the example set by his 
 father, and let lime do its work without interruption upon his 
 instruments. Had he done so they would, in many instances, 
 have been equal to those of his parent ; but, unfortunately, he 
 worked when the mania for obtaining supposed maturity by 
 artificial means was at its height, and shared the general infat- 
 uation, and, in consequence, very frequently destroyed all the 
 stamina of his instruments. Subsequently he became a partner 
 of George Purdy, and carried on a joint business at Finch 
 Lane, in the City of London, from whence most of his best 
 instruments date, having removed to the West End about 1843. 
 He was a most assiduous worker. The number of Violins,. 
 Tenors, Violoncellos, and Double-Basses that he made was 
 very great ; indeed, his reputation would have been greater 
 had he been content to have made fewer instruments and have 
 exercised more general care. His copies of " Guarnerius " 
 are most numerous, numbering some hundreds. They are 
 mostly varnished with a glaring red colour, of a hard nature- 
 He made many good Double-Basses of the Gaspard di Salo 
 form, the varnish of which is superior to that of his Violins. 
 He made also an excellent quartett of instruments Violin, 
 Viola, Violoncello, and Double-Bass, for the Exhibition of 1851. 
 They were certainly the best contemporary instruments exhib- 
 ited, but he failed to obtain the prize medal. 
 
 FENDT, Martin, London, born in 1812. Brother of the 
 above. Worked for Belts. 
 
 FENDT, Jacob, London, born 1815, died 1849. Third son 
 of Bernard Fendt. The best maker among the sons of Bernard. 
 His instruments are beautifully finished, and free from the 
 stereotyped character belonging to those of his brother Bernard. 
 As specimens of the imitator's art they are unequalled. One 
 cannot but regret that such a consummate workman should 
 have been obliged to waste his energies in making new work 
 resemble that of a hundred years before. The patronage that 
 he obtained was not of much value, but had he brought his 
 work into the market in its natural condition he would not 
 have lived by his trade. He was, therefore, compelled to foster 
 that which he no doubt felt to be degrading. The copies of 
 Stradiuarius by Jacob Fendt are among his best efforts. The 
 
9 6 THE VIOLIN. 
 
 work is well done ; the discoloration of the wood cleverly 
 managed, the effects of wear counterfeited with greater skill 
 than was ever done before or since, and finally, an amount of 
 style is thrown into the work which transcends the ingenuity 
 of any other copyist. Had he been allowed to copy the form 
 of the old masters, as Lupot did, without imitating the actual 
 wear of the instrument, we should have had a valuable addition 
 to our present stock of instruments of the Panormo class. 
 FENDT, Francis, London. Fourth son of Bernard. 
 FENDT, William, London, born 1833, died 1852. Son of 
 Bernard Simon Fendt. Was an excellent workman, and assisted 
 his father in the manufacture of several of his Double-Basses. 
 FERGUSON, Donald, Huntley, Aberdeenshire. 
 FINDLAY, James, Padanaram. 
 FIRTH, Leeds, 1836. 
 
 FORSTER, William, born in 1713, died 1801. The family of 
 the Forsters, of which the subject of this 
 William Forster, notice was the first as a maker of stringed 
 Violin Maker, instruments, have played no unimportant 
 in Brampton. part in the history of Violins. The atten- 
 tion they commanded as makers both from 
 
 artists and amateurs has probably never been equalled in Eng- 
 land. Their instruments claimed attention from the moment 
 they left the makers' hands, their construction being excellent 
 in every way. William Forster was a native of Brampton, in 
 Cumberland, where he followed the trade of a spinning-wheel 
 maker, occupying his spare time in the making and repairing 
 of Violins and musical instruments generally. His labours, as 
 far as they relate to Violin-making, appear to have been of a very 
 unpretending nature, but they served to impart a taste for the 
 art to his son William, who was the best maker of the family. 
 FORSTER, William, London, born 1739, died 1808. Son of 
 William Forster mentioned above. 
 
 William Forster, Worked with his father at Bramp- 
 
 Violin Maker, ton, in Cumberland, making spin- 
 
 in St. Martin's Lane, London, ning-wheels and Violins two sin- 
 17 gularly diverse occupations. It 
 
 was, however, to the latter indus- 
 try he gave the most attention, and he soon became the great 
 maker of his neighbourhood. He also continued to add 
 another string to his bow, viz., that of playing country dances 
 at the village festivities. Thus armed with three occupations, 
 he must have been well employed. He seems to have early 
 discovered that his abilities required a larger field in which to 
 show themselves to advantage, and accordingly took the usual 
 course in such circumstances came to the Metropolis, in which 
 he settled about the year 1759. He soon obtained employment 
 at a musical instrument seller's on Tower Hill, and gave up 
 then and for ever the making of spinning-wheels, while by 
 
ENGLISH MAKERS. 97 
 
 throwing all his soul into the manufacture of Violins he soon 
 gave his master's patrons the highest satisfaction. He ulti- 
 mately commenced business on his own behalf in the neigh- 
 bourhood of Duke's Court, St. Martin's Lane, where his abilities 
 attracted considerable attention, and secured him the patron- 
 age of the dilettanti in the musical world. For several years 
 he followed the path trodden by the makers of the period, and 
 copied Stainer. His instruments of this date are very excel- 
 lent both in workmanship and material, but are not equal to 
 those of the Amati pattern, which he commenced to make 
 about the year 1770. These are beautiful works, and have a 
 great charm from their being so varied. Some are copies of 
 Antonius and Hieronymus Amati, variously modelled ; others 
 are copies of Nicholas Amati. The wood and varnish also 
 varies very much, but the high standard of goodness is well 
 maintained throughout. His varnish was, during the last 
 twenty years of his life, very fine in quality, and in the manu- 
 facture of it he is said to have been assisted by a friend who 
 was an excellent chemist. He made only four Double-Basses, 
 three of which were executed for the private band of George III. 
 Forster's instruments were the favourite equipment of Robert 
 Liudley, and their value in his day was far higher than at the 
 present moment. When Lindley died, attention was turned to 
 Italian Violoncellos, and a vast number having been brought 
 to England, the value of Forster's productions was very consid- 
 erably depreciated ; now, however, that the cultivation of 
 stringed instrument music has been so much extended, they 
 are rapidly rising again to their former level, Italian instru- 
 ments being a luxury not obtainable by every one, and age 
 having so benefited the tone of Forster's Violoncellos as to 
 render them excellent substitutes. 
 
 FORSTER, William, London, born in 1764, died 1824. Son 
 
 of William Forster, the 
 William Forster, Junr. second of the family. 
 
 Violin, Violincello, Tenor & Bow Maker, Although this maker 
 
 is Also Music Seller No. 43 did not attain to the 
 
 to their Royal Highnesses the Celebrity of his father, 
 
 Prince of Wales and the Duke of Cumberland. h i S instruments are 
 
 often fully as good. The 
 
 workmanship is very neat, and the modelling excellent ; the 
 varnish being equal to that on his father's instruments. 
 
 FORSTER, William, London, born in 1788, died 1824. Son 
 of William Forster, mentioned above. He was a very good 
 workman : he made but few instruments. 
 
 FORSTER, Simon Andrew, London, born in 1801, died 
 about 1869. Brother of William, mentioned above. He 
 learned his business from his father and Samuel Gilkes, who 
 worked for William Forster. He made several instruments 
 between the years 1828 and 1840, which are of average merit. 
 
98 THE VIOLIN. 
 
 FRANKLAND, London. 
 
 FURBER, London. There were several makers of this 
 family, some of whom worked 
 
 John Furber, Maker, for Betts, of the Royal Exchange. 
 
 13, John's Row, Top of Brick Lane, Many of their instruments are 
 Old St., Saint Luke. 1813. excellent, and should unquestion- 
 ably be more valued than they are. 
 GIBBS, James. Worked for Samuel Gilkes and others. 
 GILKES, Samuel, London, born in 1787, died in 1827. 
 Was born at Morton Pinkney, 
 Gilkes, in Northamptonshire. He be- 
 
 From Forster's, came an apprentice of Charles 
 
 Violin and Violoncello Maker, Harris, whose style he followed 
 
 34, James Street, Buckingham Gate, with much SUCC6SS. Upon leav- 
 
 Westminster. ing Harris he engaged himself 
 
 to William Forster, making 
 
 many instruments for him, retaining, however, all the features 
 of the style of Harris. In the year 1810 he left the workshop 
 of Forster, and commenced business on his own account in 
 James Street, Buckingham Gate, where the few instruments 
 bearing his name were made. Too much cannot be said in 
 pr.aise of this excellent maker ; he was a thorough artist, and 
 the exquisite finish of his works evidence that the making of 
 them was to him a labour of love. Amati was his favourite 
 model. 
 
 GILKES, William, London, born 1811, died 1875. Son of 
 Samuel Gilkes. Has made a great number of instruments of 
 various patterns, chiefly Double-Basses. 
 
 GOUGH, Walter. An indifferent workman. 
 
 HARDIE, Matthew, Edinburgh, dates from 1815. He was 
 the best maker Scotland has had. The model is that of Amati ; 
 the work throughout excellent. The linings are mostly of 
 cedar. 
 
 HARDIE, Thomas, Edinburgh. Worked with Matthew 
 Hardie. 
 
 HARHAM, London, 1765 1785. 
 
 HARE, Joseph, London, about 1726. Copied Stainer. 
 Little known. 
 
 HARRIS, Charles, London, 1800. This maker is known 
 only to a few dealers, as he made chiefly for the wholesale 
 merchants of his day. His name was rarely affixed to his in- 
 struments, but those thoroughly acquainted with his work agree 
 in giving him a foremost place among the makers of this 
 country. He was, like many other makers of that period, 
 engaged in two occupations differing very much from each 
 other, being at the same time a Custom-house officer and a 
 maker of Violins. The former circumstance brought him into 
 contact with mercantile men, and enabled him to obtain com- 
 missions to make Violins for the export trade. His business 
 
ENGLISH MAKERS. 99 
 
 in this direction so increased that he obtained the services 
 of his relative, Samuel Gilkes, as his assistant. He copied 
 chiefly Amati and Stradiuarius, the latter admirably. Many 
 of these copies are not inferior to those of Lupot. He never 
 aimed at producing a counterpart of the instrument that he 
 copied by resorting to the use of those deleterious means 
 to indicate upon the surface of an instrument the ravages of 
 time. He faithfully copied the form, and thus did what Lupot 
 was doing at the same period. The exquisite finish of these 
 instruments is remarkable, and as they are covered with a fine 
 quality of varnish, they have every recommendation of appear- 
 ance. 
 
 HART, John Thomas, born December lyth, 1805, died Jan- 
 uary ist, 1874. He was articled to 
 John Hart, Samuel Gilkes in May, 1820, of 
 
 Maker, whom he learned the mechanical 
 
 14, Princes St., Leicester Square, branch of his profession. He after- 
 London. Anno 18 wards centred his attention upon 
 the peculiar characteristics of the 
 
 Cremonese and Italian Violin makers generally, and in a com- 
 paratively brief space of time obtained an extensive acquaint- 
 ance in that direction. His unerring eye and powerful memory 
 of instruments once brought under his notice secured for him 
 the highest position among the connoisseurs of his time. Com- 
 mencing business at a period when the desire to possess instru- 
 ments by the famous Italian makers was becoming general 
 among amateurs, and being peculiarly fortunate in securing an 
 early reputation as a judge of them, he became the channel 
 through which the greater part of the rare Italian works passed 
 into England, and it has been frequently said that there are 
 very few distinguished instruments in Europe with which he 
 was unacquainted. Among the remarkable collections that he 
 brought together may be mentioned that of the late Mr. Tames 
 Coding, the remnant of which was dispersed by Messrs. Christie 
 and Manson in 1856 ; the small but exquisite collection of Mr. 
 Charles Plowden, consisting of four Stradiuariuses and four 
 Guarneriuses, with other instruments of less merit, the whole of 
 which again passed into Mr. Hart's possession upon the death 
 of their owner ; and, lastly, a large portion of the well-known 
 collection of the late Mr. Joseph Gillott, sold by Christie and 
 Manson shortly after the famous sale of pictures belonging to 
 the same gentleman. This collection of Violins realised up- 
 wards of .4,000. To mention individually the gems comprised 
 in this array of Cremona's handiwork would be a difficult task, 
 but among them may be noticed the Guarnerius known as the 
 "King," the Stradiuarius Viola, formerly Lord Macdonald's ; 
 the beautiful Stradiuarius Violin, long in the possessio.n of the 
 late Mr. P. Roberts, and now belonging to Mr. John Adam. 
 HEESOM, Edward, London, 1748. Copied Stainer. 
 
ioo THE VIOL IX. 
 
 HILL, Joseph, London. Pupil of Peter Wamsley. His 
 Violoncellos and Tenors are well made instruments. 
 
 Joseph Hill, Maker, 
 
 at the Harp and Flute, 
 
 in the Hay Market, 
 
 London. 
 
 HILL, William, London, 1741. Son of the above. Very 
 good work. 
 
 William Hill, Maker, in Poland Street, 
 near Broad Street, 17 
 
 HILL, Joseph, London, 1800 1840. Son of the above. 
 
 HILL, Lockey, London, 18001835. Brother of the above. 
 Made many excellent instruments. 
 
 HILL, William Ebsworth, London, now living. Son of 
 Lockey Hill. Has made several instruments in his younger 
 days, but, like the rest of our English makers, has discovered 
 that new work was unremunerative, and turned his attention to 
 repairing and dealing in old instruments, whereby he enjoys his 
 full share of patronage from the Violin world. He exhibited at 
 the Exhibition of 1862 a Violin and Tenor, to prove that Violin 
 making was not quite extinguished in England. 
 
 HOLLOWAY, )., London, 1794. 
 
 HUME, Richard, Edinburgh, i6th century. A maker of 
 Lutes, &c. 
 
 JAYE, Henry, London, iyth century. Maker of Viols, 
 which are capital specimens of the work of the period. The 
 varnish is excellent. 
 
 JAY, Thomas, London. Related to the above. Excellent 
 work. 
 
 JAY, Henry, London, 1750. A maker of Kits chiefly. At 
 this period these juvenile Violins were 
 
 Made by Henry Jay, in much demand by dancing masters, 
 in Long Acre, London. 1746. A few years ago a very choice collec- 
 tion of these instruments was made 
 
 by an Irish gentleman residing in Paris, who obtained speci- 
 mens from all parts of Europe. 
 
 JOHNSON, John, London, 1750. His violins are dated from 
 Cheapside. 
 
 Made and Sold by John Johnson, 
 
 at the Harp and Crown, in Cheapside, 
 
 17 London. 53. 
 
 KENNEDY, Alexander, London, 1700 1786. Was a native 
 of Scotland. He was the first maker of Violins in his family, 
 which became rather famous in the manufacture, and lasted 
 nearly two centuries. 
 
 Alexander Kennedy, Musical Instrument 
 
 Maker, living in Market Street, in Oxford, 
 
 Road, London. 17 
 
ENGLISH MAKERS. 101 
 
 KENNEDY, John, London, born 1730; died 1816. Nephew 
 of Alexander Kennedy. Made Violins and Tenors. 
 
 KENNEDY, Thomas, London, born 1784; died about 1870. 
 Son ol the above. This maker made probably more instru- 
 ments than any two English makers that could be mentioned, 
 if we except that prolific workman Craske. 
 
 LENTZ, Johann Nicolaus, London, 1803. He used mostly 
 one kind of wood, viz., close grained maple. Varnish nearly 
 opaque. 
 
 Johann Nicolaus Lentz, fecit 
 near the Church, Chelsea. 1803. 
 
 LEWIS, Edward, London, 1700. The work is well executed 
 throughout, and the varnish superior. 
 
 LOTT, John Frederick, 1775 1853. Was a German by 
 birth. He was engaged in the cabinet business early in life. 
 He was induced by Fendt to turn his attention to making 
 Violins, and ultimately obtained employment under Thomas 
 Dodd, making many of the Violoncellos and Double-Basses 
 that carry the label of Dodd within them. His work was of a 
 most finished description. His Double-Basses are splendid 
 instruments, and will bear comparison with Italian work. His 
 varnish was far from equal to his finish. The time he spent in 
 making these instruments was double that which any other 
 English maker expended over similiar work. There is not a 
 single portion of any of his Double-Basses that has been care- 
 lessly made ; the interior is as beautifully finished as the exterior. 
 The machines on many of his Basses were made by himself, a 
 very unusual circumstance. The scrolls are finely cut. He 
 was certainly the king of the English Double- Bass makers, and 
 his name will long live among Contra-Bassists. 
 
 LOTT, George Frederick, London, born 1800 ; died 1868. 
 Son of the above. Many years with Davis of Coventry Street. 
 Was an excellent judge of Italian instruments, and a clever 
 imitator. 
 
 LOTT, John Frederick, London, younger brother of the 
 above, died about 1871. Was articled to Davis. Has made 
 .many clever imitations. He was also an ardent lover of Crem- 
 pnese instruments, and thoroughly understood their character- 
 istics. 
 
 MACINTOSH, Dublin. Succeeded Perry and Wilkinson. 
 Died about 1840. 
 
 MARSHALL, John, London, 1750. 
 
 Johannes Marshall (in vico novo juxta 
 Covensam hortum) Londini. Fecit 17 
 
 MARTIN, London, 1800. 
 MIER, London, 1786. 
 
loa THE VIOLIN, 
 
 MILLAR, Alexander, St. Andrew's. 
 
 MORRISON, John, London, 1780 1823. 
 
 MURDOCH, Alexander, Aberdeen. 
 
 NAVLOR, Lee'ds, i8th century. 
 
 NORBORN, John, London, 1723. 
 
 NORMAN, Barak, London, 1688 1740. The instruments of 
 
 . this maker are among the best of the Old 
 
 Barak Norman English school. His instructor in the art of 
 
 and Viol and Violin making is unknown, but 
 
 Nathaniel Cross, J ud g in g f r th e character of his work it is 
 
 at the Bass Viol in St. very probable he learned from Thomas 
 
 Paul's Church Yard, Urquhart. This opinion is strengthened 
 
 London. Fecit 172 u pon examining his earliest instruments. 
 
 We there find the same peculiariiies which 
 
 mark the individuality of Urquhart. Later in life he leaned 
 
 much to the model of Maggini. 
 
 During his early years he was much esteemed as a maker of 
 Viols, many of which have all the marks of careful work upon 
 them. On all these instruments will be found his name, sur- 
 rounded with a design in purfling, under the finger board, or 
 his monogram executed in purfling. The same trade token will 
 be found on his Violoncellos. All endeavours to discover any 
 existing Violoncello, or record of one, anterior to Barak Norman 
 have failed, and, consequently, it may be assumed that Barak 
 Norman was the first maker of that instrument in England. 
 Here, again, is evidence of his partiality for the form of the 
 Maggini, both father and son, as he copied these makers in 
 nearly all his Violoncellos. All the Violoncellos of Barak 
 Norman have bellies of splendid quality; the modelling is exe- 
 cuted skilfully, due care having been observed in leaving suffi- 
 cient wood. His Violas are fine instruments. Many of these 
 were made years before he began the Violoncellos, a fact 
 which satisfactorily accounts for the marked difference in form 
 peculiar to them. The build is higher, and the sound-hole 
 German in character ; the varnish is very dark. About the year 
 1715 Barak Norman entered into partnership with Nathaniel 
 Cross, carrying on the joint business at the sign of the " Bass 
 Viol," St. Paul's Churchyard. In a Viol da Gamba owned by 
 Walter Brooksbank, Esq., of Windermere, is a label in the 
 handwriting of Nathaniel Cross, by which he adds the power 
 of speech to the qualities of the quaint Gamba ; the words are, 
 "Nathaniel Cross wrought my back and belly." The sides and 
 scroll being the work of his partner. 
 
 NORRIS, John, London, born 1739; died 1818. Articled to 
 Thomas Smith, the successor 
 
 Made by Noms and Barnes of Peter Wamsley. Similar 
 
 V.ohn, Violoncello, and Bow Makers, WQrk to that of Thomas Sm j th 
 
 To their Majesties. Re became a partner o f Robert 
 
 Coventry Street, London. Barnes 
 
ENGLISH MAKERS. 103 
 
 PAMPHILON, Edward, London, ijth century. The Violins 
 
 of this maker were formerly much prized. 
 
 Edward Pamphilon, The model is very high, and the appearance 
 
 April the 3rd, 1685. somewhat grotesque. It is to be regretted 
 
 that the splendid varnish often found on 
 
 these instruments was not put upon better work. 
 
 PANORMO, Vincent. (See Italian School.) 
 
 PANORMO, Joseph, London. Son of Vincent Panormo. 
 His work was excellent. His Violoncellos are decidedly 
 superior to his Violins. 
 
 PANORMO, George Lewis, London. Brother of the above. 
 Made Violins of the Stradiuarius pattern. 
 
 PANORMO, Louis, London. Made Guitars chiefly. 
 
 PARKER, Daniel, London, iSth century. This is another 
 maker of the English school, who was possessed of except- 
 ional talent, and whose instruments are well worthy of attention 
 from those in search of good Violins at a moderate cost. To 
 Parker belongs, in conjunction with Benjamin Banks, the merit 
 of breaking through the prejudice so long in favour of preference 
 for the Stainer model. 
 
 The date of his instruments extend from the year 1740 to 
 1785. He left his Violins thick in wood, which has certainly 
 enhanced their value now that time has ripened them. He 
 used excellent material, which is often very handsome. The 
 varnish is of a mellow quality, and fairly transparent. A large 
 number of these Violins have been passing under other makers' 
 names, and but little noticed. 
 
 PEARCE, James, London, i8th century. 
 
 PEMBERTON, Edward, London, 1660. This maker has been 
 often mentioned as the author of a Violin said to have been 
 presented to the Earl of Leicester by Queen Elizabeth, and to 
 suit this legend Pemberton's era has been put back a century. 
 The date given above will be found in the Violins of this maker. 
 
 PERRY AND WILKINSON, Dublin, 17 to 1830. The instru- 
 ments bearing the label of these makers are invariably excel- 
 lent both in tone, material and finish. 
 
 POWELL, London, iSth century. 
 
 Made by ThomaL 
 
 Powell, No. 18, Clemta^ 
 
 Lane, Clare Market. 
 
 J793- 
 
 PRESTON, John, York, iSth century. 
 
 John Preston, York, 
 1791 Fecit. 
 
104 THE VIOLIN. 
 
 RAYMAN, Jacob, London, i7th century. The subject of 
 this notice was probably a 
 
 Jacob Rayman dwelling in Blackman German from the Tyrol, who 
 
 Street, Long Southwark. 1641. settled in England about 1620, 
 
 and may be considered as the 
 
 founder of Violin making in this country, there being no trace 
 of any British Violin maker previous to 
 
 Jacob Rayman, at ye Bell that time. His work is quite different 
 
 Yard in Southwark, f rO m that of the old English Viol makers, 
 
 London, 1648. an d thoroughly Tyrolean in character. 
 
 Violins were common in Germany and 
 
 Italy at this period, and in coming to England he very likely 
 felt that a new field of labour was open to him. The instruments 
 of Rayman are of a somewhat rough exterior, but full of char- 
 acter. The form is flat, considering the general style of the 
 work. The sound-holes are striking, although not graceful in 
 any way. The scroll is diminutive, but well cut. The varnish 
 is very fine. 
 
 ROOK, Joseph, London, 1800. 
 
 Ross or ROSSE, London, 1562. Made Viols and Bandoras. 
 
 Ross, London, 1600. Son of the above. 
 
 SHAW, London, 1655. 
 
 SIMPSON, London, 1785. 
 
 John Simpson, 
 Musical Instrument Maker, 
 At the Bass Viol and Flute, 
 
 in Sweeting's Alley, 
 
 Opposite the East door of the Royal Exchange, 
 London. 
 
 SMITH, Henry, London, 1629. Maker of Viols. 
 SMITH, Thomas, London. Pupil of Peter Wamsley, and 
 his successor at the Harp and Hautboy. 
 
 Made by Thos. 'Smith, at the Harp and 
 Hautboy, in Piccadilly, London. 1756. 
 
 SMITH, William, London, about 1770. 
 
 William Smith, 
 Violin Maker, 
 Hedon. 1786. 
 
 TAYLOR, London, about 1800. A maker of much merit. 
 Instruments of the character of Panormo. 
 THOMPSON, London, 1749. 
 
 Robert Thompson, at the Bass Violin, 
 in Paul's Ally, St. Paul's Church Yard. 
 
ENGLISH MAKERS. . 105 
 
 THOROWGOOD, Henry, London. Little known. 
 
 TOBIN, Richard, London, 1800. Pupil of Perry, of Dublin. 
 A beautiful workman. His instruments are much appreciated 
 by the best judges. In cutting a scroll he was unequalled 
 amongst English makers. 
 
 TOBIN, London. Son of the above. 
 
 URQUHART, London, iyth century. Nothing is known 
 concerning the history of this excellent maker. The style may 
 be considered as resembling that of Jacob Rayman, and it is 
 possible that he worked with him. His varnish is equal to that 
 on many Italian instruments. 
 
 VALENTINE, William, London, now living. Made many 
 Double-Basses for Mr. Hart, which are highly valued. 
 
 WAMSLEY, Peter, London, i8th century. One of the finest 
 English Violoncello and Viola makers. His copies of Stainer 
 are very superior. 
 
 Made by Peter Wamsley, 
 
 at ye Golden Harp, in Piccadilly, 
 
 London. 17 
 
 WITHERS, Edward, Coventry Street. Succeeded William 
 Davis. 
 
 WITHERS, Edward. Son of the above. Wardour Street, 
 Soho. 
 
 YOUNG, London, about 1728. Lived in St. Paul's Church- 
 yard. Purcell has immortalised father and son in the first 
 volume of his Catches. 
 
 " You scrapers that want a good fiddle well strung, 
 You must go to the man that is old while he's Young; 
 But if this same fiddle you fain would play bold, 
 You must go to his son, who'll be Young when he's old. 
 There's old Young and young Young, both men of renown, 
 Old sells, and young plays, the best fiddles in town ; 
 Young and old live together and may they live long, 
 Young, to play an old fiddle ; old, to sell a new song." 
 
SECTION XI. 
 THE GERMAN SCHOOL. 
 
 TT7HE Germans do not appear to have commenced making 
 dlte Violins until long after the Italians at Brescia. There is 
 no trace of any German Violins of the time of Gu^pard 
 di Salo, Mariani, or Maggini the elder. This is certainly 
 remarkable, and the more so when we consider how near were 
 the German makers of Lutes, &c., to the old Italian town 
 where Violins were being made. It is evident from this non- 
 production of Violins that theTyrolese were content with their 
 Viols and Lutes, and did not recognise the wonderful effects of 
 the little Violin until it had become pretty nearly perfected by 
 the Italians. The manufacture of Lutes and Viols in Germany 
 had in 1650, or a little later, reached its zenith, and the exquisite 
 pieces of workmanship, in the shape of Lutes, Viols da Gamba, 
 and Viols d'Amour, richly inlaid with mother-of-pearl, ivory, 
 and tortoiseshell, made at this period, evidence the high state 
 of the art. Among the Viol and Lute makers of this time were 
 Jean Kohl and Possen, of Munich ; Meusidler, of Nurtmberg ; 
 and Mohr and Tielka, of Hamburg, the two latter ordinarily 
 making Viols, and the rest Lutes. 
 
 The earliest maker of the true Violin in Germany was, per- 
 haps, Fichold ; and next came Matthias Albani, the father of 
 the celebrated maker of that name. If we look at the instru- 
 ments of this Albani, we at once observe that there is a con- 
 spicuous incompleteness in outline and model. We are re- 
 minded of the Pamphilons of our own country ; not that there 
 is any resemblance in either form or outline in the productions 
 of these several makers, but there is the same undeveloped 
 character in their works, which is a gauge of the imperfect state 
 of the manufacture at the time. The followers of Albani were 
 very numerous,- all adopting the exaggerated height of belly 
 and deep modelling of that maker. Among these may be 
 mentioned Johann Schorn, of Inspruck (whose Violins, by the 
 way, are mostly attributed to the elder Albani), Schonger, 
 Scheinlein, Hassert, and others of less repute. When Jacobus 
 Stainer returned from Italy, whither he had travelled to receive 
 instruction, he, to a great extent, changed the system of mod- 
 elling so long in vogue in Germany. Although so great a 
 maker, he was seemingly unable to free himself entirely from 
 the proclivities common to his countrymen who were Violin 
 makers. There remained, after all Stainer's changes, the 
 
 100 
 
THE GERMAN SCHOOL. 107 
 
 German sound-hole and extra arching, &c. Yet it must be 
 readily admitted that the example which Stainer put before his 
 countrymen was of great value, and served to set a new fashion 
 for the whole cause of Violin manufacture in Germany. The 
 exceptional merits of this famous German artist were soon re- 
 cognised, and his followers were legion. Among them were 
 Sebastian Kloz, George Kloz, Egidius Kloz, and other members 
 of that, perhaps the largest, family of Fiddle makers that the 
 world has had (had they been as good as they were numerous, 
 \vriat stores of prized Violins would have been bequeathed to 
 us ! ) ; Reiss, of Bamberg ; Rauch, of Breslau ; and Leopold 
 Withalm, of Nuremberg, who was one of Stainer's best imi- 
 tators; and others less known. 
 
 There were several German makers led, possibly, by the 
 example of Stainer and Albani the younger, who turned their 
 attention to Italy, as furnishing models superior to their own, 
 and thus combined the styles of both countries ; while they 
 endeavoured to copy closely the Italian masters, without at- 
 tempting to be original. Nicholas Amati was the maker whom 
 these men chiefly copied, and most successfully did they per- 
 form their task. These copies, however, did not meet with the 
 success to which they were entitled, and the popularity of 
 Stainer's mode was then so great that the instruments made 
 upon other systems than his found no favour in the Fatherland. 
 The makers who were faithful copyists of the Italian masters 
 were Ruppert, Bachmann, Jauch, and Eberle, of Prague. 
 
 When we consider the vast number of makers forming the 
 German school, we cannot fail to feel surprised that the number 
 of really good artists was not much larger ; and our surprise 
 increases when the close proximity of the Tyrolese workers to 
 the chief Italian centres of the manufacture of Violins is also 
 considered. If the names of Jacobus Stainer, Withalm, and 
 Albani be excepted, the list is singularly destitute of makers 
 famous for originality. The Germans were certainly great in 
 the manufacture of the old stringed instruments, but seem to. 
 have made a poor beginning in the making of Violins. The 
 form selected was bad, and they failed to improve upon it to 
 any great extent. It would be quite impossible to furnish any 
 thing approaching a complete list of German makers, their 
 numbers being so extended, and so many of their instruments 
 being anonymous, and withal so weak in character, that it is 
 hard to discern them. Every care, however, has been taken to 
 render the following list as complete as possible. With this 
 school is classed that of Holland, which has produced so few 
 makers that it seems unnecessary to arrange them in a sepa- 
 rate list. 
 
SECTION XII. 
 GERMAN MAKERS. 
 
 FLBANI, Matthias, Botzen, born, 1621; died, 1673. One of 
 the earliest German makers. The form is somewhat 
 like Stainer's, but higher and heavier in construction. 
 The varnish is very rich. Wood of good quality. 
 
 ALBANI, Matthias, Botzen, about 1650. Son of the above. 
 This maker should, perhaps, have been 
 
 Mathias albani in bulsani classed with those of Italy, his style being 
 
 Thiroli fecit anno 16 quite Italian ; but as he was the son of 
 
 the well known German maker, it was 
 
 thought best that his name should follow that of his father 
 under the head of German makers. The difference between 
 the two Albanis is very great, and the son has shown but faint 
 marks of having been tutored at all by his parent in the art of 
 Violin making. He wisely decided to visit Cremona, in order, 
 no doubt, to receive instruction there under Amati, and from 
 this circumstance he gave to his work that Italian air which is 
 so pleasing to the connoisseur. This maker is often credited 
 with the work of the elder Albani, it having been supposed that 
 there was but one of that name. The model is good, and the 
 workmanship throughout demands high praise. 
 
 ALBANI, Sicily, 1633. Probably related to the Albanis of 
 Botzen. 
 
 ALLETSEE, P., Munich, 1727. 
 
 ARTMANN, Wegman, near Gotha, iSth century. Was 
 originally a joiner. Copied Amati very cleverly. The varnish 
 is frequently of amber colour. 
 
 BACHMANN, Berlin, i8th century. The work is clean, 
 and not without style. 
 
 BAUCHE, Leipsic. 
 
 BECKMAN, Stockholm, about 1700. The work is rough. 
 
 BINTERNAGLE, Gotha, iSth century. Copied Amati chiefly. 
 There are a few of his instruments which are on the model of 
 Stradiuarius, and are highly valued in Germany. 
 
 BREMEISTER, J., Amsterdam, about 1700. The pattern is 
 pinched and unsightly. Work, of average merit. 
 
 BUCHSTADTER, Ratisbon, iSth century. His Violins vary 
 very much. Some have excellent wood, others very indifferent. 
 When one of his best instruments can be procured it is a good 
 substitute for a second-class Italian. 
 
 108 
 
GERMAN MAKERS. /op 
 
 CHRISTA, Joseph Paul, Munich, 1730. 
 
 Josephus Paulus Christa, Lauten 
 und Geigenmacher in Miinchen. 17 
 
 DARCHE, Aachen. Imitator of the old masters. 
 
 DIEHL, Nicholas, Darmstadt, 1690. 
 
 DIEHL, Hamburg. 
 
 DURFEL, Altenburg, i8th century. A well-known German 
 Double-Bass maker. 
 
 EBERLE, Jean Ulric, Prague, 1750. Was a good copyist of 
 the Italian masters. 
 
 EDLINGER, Prague, 1712. 
 
 EDLINGER, Joseph Joachim, Prague. Son of the above. 
 
 ELSLER, Joseph, Mayence, 1720 1750. Made many good 
 Viols da Gamba. 
 
 ERNST, Francois Antoine, Bohemia, 1745 1765. 
 
 FEBBRE, Amsterdam, 1762. Made Violoncellos. 
 
 FICHTL, Martinus, Vienna, 1757. Large pattern ; excel- 
 lent varnish; wood of good quality. 
 
 FICHTOLD, Hans, 1612. 
 
 FICKER, Johann Christian, Cremona, 1720. Said to have 
 lived in the midst of the greatest makers the world has had ; if 
 so, he certainly did not make himself acquainted with the art 
 of Violin making as understood in Cremona. His instruments 
 may have been made at Mittenwald, and dated from Cremona. 
 
 FICKER, Cremona, 1789. 
 
 FISCHER, Zacharie, Wiirtsburg, 1730. This maker intro- 
 duced the baneful practice of baking the wood for the manu- 
 facture of Violins. 
 
 FREY, Hans, Nuremberg, 1450. A celebrated maker of 
 Lutes and Viols. He was the father-in-law of Albert Durer. 
 
 FRITZ, Hans, Nuremberg. 
 
 FRITZSCHE, Samuel, Leipsic, 1790. 
 
 GALBUSERA, C. A., 1830. Made Violins of Guitar shape; 
 a method which has been often tried but has never succeeded. 
 Chanot, a French amateur, and George Lott, London, made 
 instruments of this form. 
 
 GEDLER, Johann Benedict, Fissen, i8th century. 
 
 GEDLER, Johann Antony, Fissen, i8th century. 
 
 GERLE, Jean, Nuremberg, 1550. Maker of Lutes and 
 Viols. 
 
 GRIMM, Berlin, now living. 
 
 GROBITZ, Warsaw, iSth century. 
 
 GUGEMMOS, Bavaria, indifferent work. 
 
 HAMBERGER, Joseph, Presburg, 1845. 
 
 HAMM, Johann Gottfried, Rome, i8th century. Made in- 
 struments of a wide pattern, often with ivory edges, and branded 
 inside with his initials. 
 
no THE I ~IO LIN. 
 
 HANSEL, John Anthony, Leipsic. 
 
 HASSERT, Eisenach, i8th century. Instruments well 
 made 
 
 HASSERT, Rudolstadt, i8th century. 
 
 HELMORE, Charles, Prague, 1735 1750. Pupil of Eberle. 
 
 HILDEBRANT, Michael Christopher, Hamburg, 1770. 
 
 HILLMER, 1840. 
 
 HOFFMANN, Martin, Leipsic, i8th century. 
 
 HORNSTAINER, Matthias, Mittenwald. Similar to Kloz. 
 
 HULLER, Augustine, Shceneck, 1775. 
 
 HUMEL, Christian, Nuremberg, about 1709. 
 
 HUNGER, Christopher Frederick, Leipsic, 1780. One of 
 the best German makers. 
 
 JACOBI, Meissen. A famous Lute maker. 
 
 JACOBS, Amsterdam, 1690 1740. A close imitator of 
 Nicholas Amati. Few makers have been more mistaken than 
 Jacobs ; so exact was he in following the model of Amati, that 
 numbers of his Violins are passed by the inexperienced as 
 original. He mostly selected the grand pattern of Amati for 
 his model, which gave him full scope for the exercise of his 
 powers. He selected wood as nearly as possible resembling 
 that found in the works of Nicholas Amati. The backs are 
 mostly of even grain, and compact ; the modelling can only be 
 found fault with near the purfling, where its sharpness at once 
 catches the attention of the critic in these matters, and divulges 
 the true author. The varnish, though good, is not equal to that 
 of Amati. The scroll is inferior to the body in merit. The 
 purfling is of whalebone, like that of most of the Dutch 
 makers. 
 
 JACOBS, Amsterdam, probably a son of the above. Excel- 
 lent varnish of a deep red, very transparent, full of character, 
 but wanting in finish. Purfling embedded. 
 
 KAMBL, Johann Cornelius, 1640. 
 
 John Andreas Kambl Churfurftl. 
 
 Hof Lauten und Oeigcnmacher 
 
 in Munchen. 
 
 KIAPOSSE, Sawes, St. Petersburg, 1750. 
 KIRSCHSCHLAG, Tyrol, 1780. 
 
 KOHL, Jean, Munich, 1580. Lute maker to the Bavarian 
 Court. 
 
 KOLDITZ, Matthias Johann, Munich, 1720. 
 
 Mathias Joannes Koldjz, 
 
 Lauten und Geigenmacher in 
 
 Munchen 17 
 
 KOLIKER, Paris, i8th century. 
 
GERMA.V MAKERS. /// 
 
 KLOTZ, Joseph, Tyrol. 
 
 KLOZ, Matthias, Tyrol, 1670 1696. Pupil of Stainer. The 
 work is good, but the varnish poor. Much of the wood that he 
 used was cut at the wrong season, and is consequently worm- 
 eaten. It is an error to give Matthias the foremost place in 
 this large family of Violin makers his son Sebastian was his 
 superior. 
 
 KLOZ, Sebastian, Tyrol, son of Matthias Kloz. The instru- 
 ments of this maker are highly valued ; 
 
 Sebastian Kloz, in they are superior in pattern and style to 
 
 Mittenwald, An 17 those of his father. The model is flat 
 
 as compared with most Violins of the 
 
 German school. The varnish varies, but it sometimes appears 
 to be of the quality belonging to that of Albani. 
 
 KLOZ, George, Tyrol, brother of Sebastian Kloz. Instru- 
 ments well made, chiefly yellow in colour ; wood often worm- 
 eaten. 
 
 KLOZ, Egitia, Tyrol, brother of the former. 
 
 KNITL, Joseph, Mittenwald. 
 
 KNITTING, Mittenwald, 1760. 
 
 KRINER, Joseph, Mittenwald, 1786. 
 
 LIDL, Antonie, 1700. 
 
 MAIER, Andrea Ferdinand, Salzburg, 1750. 
 
 MALDONNER, Bavaria, i8th century. 
 
 MANSIELL, Leonard, Nuremburg, 1728. 
 
 MAYER, Andrea Ferdinand. 
 
 Andreas Ferdinandus, Mayrhof 
 Laut, und Geigenmacher 
 in Salkbiirg. Anno 17 
 
 MEUSIDLER, Jean, Nuremburg, 1550. Made Viols and 
 Lutes. 
 
 MOHR, Philip, Hamburg, i7th century. Made Viols da 
 Gamba, &c. 
 
 OHBERG, Johann, Stockholm, 1773. Workmanship of 
 average merit. Varnish mostly of yellow colour. 
 
 OTT, Jean, Nuremberg, isth century. Lute maker. 
 
 OTTO, Jacob Augustus, Gotha, 17621830. 
 
 OTTO, Gotha, son of Jacob Augustus. 
 
 OTTO, Cologne. 
 
 PARTH, Andreas Nicholas, Vienna, iSth century. 
 
 PFRETZSCHNER, Gotlob, Cremona, 1750. Very common- 
 place. 
 
 PFKETZSCHNER, Carl Frederick, Cremona, son of the 
 former ; no merit. 
 
 PLACK, F., Schoenback, 1730 1745. 
 
 PLATNER, Michael, Rome, about 1720. This maker should 
 have been included with the Italians. His style and varnish 
 remind us of Techier. 
 
Ji2 THE VIOLIN. 
 
 POSSEN, Lauscrim, Bavaria, 1550. Maker of Viols and 
 Rebecs. 
 
 RAF, Bavaria, i8th century. 
 
 RAMBOUTS, Peter, Amsterdam. High model, capital 
 varnish. 
 
 RAUCH, Jacques, Mannheim, 1720 1745. 
 
 RAUCH, Sebastian, Hamburg, 1725. High model, instru- 
 ments not well finished. 
 
 RAUCH, Breslau. 
 
 REICHEL, Johann Gottfried, Abspm, i8th century. 
 
 REICHEL, Johann Conrad, Newkirch, i8th century. 
 
 ROTH, Christian, Augsburg, i7th century. 
 
 RUPPERT, Francis, Erfurt. Instruments of little value. 
 
 SCHEINLEIN, Matthias Frederick, Langenfeld, born 1710, 
 died 1771. High built; varnish dark. 
 
 SCHEINLEIN, Jean Michael, Langenfeld, son of the former. 
 Similar characteristics. 
 
 SCHLICK, Leipsic. 
 
 SCHMIDT, Cassel, 18001825. Copied Stradiuarius indif- 
 ferently ; wood poor, thicknesses incorrect. 
 
 SCHONGER, Francis, Erfurt, i8th century. 
 
 SCHONGER, George, Erfurt, iSth century. Made several 
 good instruments of the Albani type. 
 
 SCHORN, Johann, Inspruck, i8th century. An excellent 
 maker ; the varnish is similar to that of Albani ; the modelling 
 high. 
 
 SCHORN, Jacob, Salzburg. Good work, and varnish equal 
 to that of Johann Schorn. 
 
 SCHOTT, Martin, Prague. Instruments of little value. 
 
 SPEILER, Tyrol. 
 
 STAINER, Jacob, Absom, born about 1620. The celebrity 
 
 of this maker is second only to that of the great Cremonese 
 
 artists. His admirers in Germany 
 
 Jacobus Stainer in Absom and England were, at one time, 
 prope Oenipontum. 16 more numerous than those of the 
 
 principal Italian. To the connois- 
 seur of to-day such'hallucination will seem inexplicable ; and 
 he is driven to the conclusion that the Fiddle admirers of past 
 days were incapable of appreciating true beauty of form and 
 its bearing upon sound, or else that fashion made its influence 
 felt on the Fiddle world as elsewhere. It would be absurd to 
 deny that the greatest German maker of Violins that ever lived 
 \vas a man of rare abilities, because it is indelibly written on 
 liis chief works that he was a thorough artist. Therefore an 
 expression of surprise that Jacobus Stainer has been estimated 
 higher than even Stradiuarius by the Germans and English, 
 must not be understood as a reflection in any sort whatever on 
 his abilities, as it refers only to the form that he chose to give 
 to his works. To account for the apparent inconsistency in the 
 
GERMAN MAKERS. 213 
 
 works ot Stainer, and to strike the balance between, his excep- 
 tional abilities on the one side and his model on the other, is 
 not easy. His form was not a borrowed one ; it is as original 
 as that of Stradiuarius, a fact which makes it more than ever 
 unintelligible that he should have been content with it. To 
 arrive at .anything approaching to a satisfactory solution, we 
 must endeavour to trace the history of this model. Jacobus 
 Stainer was born in the Tyrol, and passed there his early years, 
 and probably received his first instructions from one of the old 
 Tyrolean Lute and Viol makers, at a period when they raised 
 their model, and introduced into the German school the scoop- 
 ing round the sides of the backs and bellies, the inelegant 
 sound-hole, the harsh outline, and uncouth scroll. As experi- 
 ence ripened his understanding, he felt that these characteristics 
 of the German school were not such as could be moulded with 
 advantage by any artist, whatever his talent might be, and 
 resolved to do his best to unlearn much that he had acquired. 
 In order to do so with any chance of success, but one course 
 was open to him, that of studying the Italian masters on their 
 own ground. The course to which he was thus led evidences 
 his sagacity and thoroughly artibtic nature. To leave those 
 who patronised him, and looked up to him, and to visit 
 Cremona for the purpose of humble study, must have needed 
 no little enthusiasm, for it is impossible that he could have 
 travelled with any other motive than that indicated. He must 
 have been well aware that his style could find no favour with 
 the Italians, and therefore that he was precluded from any 
 possibility of employment which would yield more than bare 
 maintenance. It has been hitherto stated that his journey to 
 Italy was undertaken when very young. With this view I do 
 not concur. In all cases where there is an absence of direct 
 evidence, opinions can only be formed from particular analogies 
 bearing on the case under consideration. Now in the case of 
 Stainer we have nothing to guide us but his variations of style, 
 and dates of time and places. What is the result of a careful 
 investigation of every particle of evidence that we can glean? 
 The style is ever German, although the great maker is head 
 and shoulders above all his countrymen who followed his art. 
 I am thus forced to believe that had so excellent an artist visited 
 Italy in his youth, as reported, there would have remained but 
 the faintest trace of his German origin. That men of less 
 ability should be unable to entirely sever themselves from their 
 national style of work, even under the most favourable circum- 
 stances for such a release, I can readily understand (it is an 
 incapacity which has been exemplified over and over again), 
 but Jacobus Stainer was not one of these ordinary men ; he had 
 not his superior in the school of Cremona as a finished work- 
 man, with the single exception of Antonius Stradiuarius. I 
 believe, therefore, that the German style was deeply rooted 
 
j/4 THE VIOLIN. 
 
 within him when he ceased to be young, and that his subsequent 
 visit to Cremona was not undertaken until he recognised the 
 inferiority of the school in which he had been bred, as com- 
 pared with that of the Cremonese. That he did not go far 
 enough in his "second thought," is pretty well acknowledged 
 on all sides. His originality was conceived in the German 
 school, amid the worst examples, and it was too late to undo 
 what had gone before. Here, then, lies, I consider, the key to 
 the seeming anomaly that so great a maker as Stainer should 
 have adopted and clung to so clumsy a model. That his stay 
 in Cremona had a marked effect upon his style is clear enough. 
 Who but an artist located in Cremona could have made those 
 exquisite Violins known as "Elector Stainers?" The wood 
 selected for its rare loveliness, the finished workmanship, and 
 charming rose-coloured varnish, render these works of art, of 
 which one glimpse is a never-fading memory. These works 
 show the diligent zeal with which Stainer laboured in his studies 
 of the Italian masters. He contrived to give these instruments 
 an air of grace quite foreign to the best efforts of his brother 
 German makers. In the sound-hole and scroll is observable 
 his seeming desire to leave behind the German preferences ; 
 and although it must be admitted that he was but partially 
 successful in his endeavours to stamp out early tendencies, the 
 connoisseur cannot but be impressed with the fertile resources 
 of the artist's manipulation. Had such skill been exercised on 
 a form nearer akin to the Italian, the result would have been 
 perfect. 
 
 The history of Jacobus Stainer is enveloped in obscurity. 
 The dates of his birth and death are unknown, and, indeed, 
 nearly all that is related of him rests upon tradition. Amongst 
 the rumours concerning this maker may be mentioned that of 
 his having been a pupil of Nicholas Amati. In all notices of 
 Jacobus Stainer this statement is made without any reasonable 
 -support. It is certain there is no direct evidence in support of 
 it, neither is it shown that his work is founded on that of Amati. 
 I am satisfied that Stainer was assisted by neither the Brothers 
 Amati nor Nicholas Amati, and I am strengthened in this 
 opinion by the steadfastly German character of a model which 
 no pupil of Amati could have persisted in using, even though 
 based on his earliest traditions. That Stainer went to 
 Cremona the labels in a few of his works testify, but there is 
 no mention of his having been with any maker in particular 
 to my knowledge. 
 
 There is another rumour concerning Jacobus Stainer which 
 savours of romance. It is said that in consequence of the 
 great grief he experienced upon the death of his wife he with- 
 drew from the world, and became an inmate of a Benedictine 
 monastery, and that he made within its walls the famous instru- 
 ments known as Elector Stainers, which he presented to the 
 
GERMAN MAKERS. 115 
 
 twelve Electors. Whether he made them to order in the usual 
 manner, whether he presented them, or where he made them, 
 matters little ; they are works of great merit, and need no 
 mysterious surroundings to call attention to them. The fol- 
 lowers of Stainer have been numerous, and are mentioned in 
 the lists of German and English makers. Probably no maker 
 is more mistaken than Stainer : the array of German instru- 
 ments called by his name is at least ten times greater than the 
 number he actually made. Nearly every high-built tub of a 
 Violin sails under his colours. Instruments without any re- 
 semblance whatever to those of Stainer are accepted by the 
 multitude as original Jacobus Stainers. Much of this has arisen 
 from the variety of style and work said to have been shown in 
 the instruments of this maker. That this marked variety exists 
 I do not believe. The pattern varies, but the same hand is 
 traceable throughout. 
 
 STATELMAN, Daniel, Vienna, 1730 1750. Good work, 
 model of Stainer ; poor varnish. 
 
 STATELMAN, Johann Joseph, Vienna, i8th century. Copied 
 Stainer ; average merit. 
 
 STRAUBE, Berlin. 
 
 STRAUSS, Joseph, Neustadt, 1750. 
 
 VIBRECHT, Gysbert, Amsterdam, 1700. 
 
 VOGEL, Wolfgang, Nuremburg. 
 
 VOGLER, Johann George, Wurzburg, 1750. 
 
 Joann Georg Vogler, Lauten- 
 und Geigenmacher in Wiirczburg. 17 
 
 WAGNER, Joseph, 1730. 
 
 WEICKERT, Halle, 1800. 
 
 WEISS, Jacob, Salzburg, i8th century. 
 
 Jacob Weiss, Lauthen und 
 Geigenmacher in Salkburg. 
 
 WENGER, G. F., Salzburg, i8th century. 
 
 WEYMANN, Cornelius, Amsterdam, i8th century. 
 
 WITHALM, Leopold, Nuremburg, i8th century. One of 
 the best imitators of Stainer. The wood is frequently handsome, 
 the work finished with great care. Varnish, although wanting 
 the delicacy of that of Stainer, is excellent ; its colour is mostly 
 pale red. Nearly all his instruments are branded with his 
 initials inside. 
 
SECTION XIII. 
 THE VIOLIN AND ITS VOTARIES. 
 
 "Have not the wisest men in all ages, not excepting Solomon himself, have 
 they not had their hobby-horses ; their running horses, their coins and their cockle 
 ihells, their drums and their trumpets, their fiddles." Tristram Shandy, 
 
 TT7HE leading instrument is singularly favoured. It may be 
 &\f said to have a double existence. In addition to its 
 manifold capabilities, it has its life of activity on the one 
 hand, and inactivity on the other. At one time it is cherished 
 for its power of giving pleasure to the ear, at another for the 
 gratification it affords to the eye. Sometimes it is happily called 
 upon to perform its double part giving delight to both senses. 
 When this is so, its existence is indeed a happy one. The 
 Violin thus occupies a different position to all other musical 
 instruments. Far more than any other musical instrument it 
 enters into the life of the player. It may almost be said to live 
 and move about with him ; the treasure-house of his tenderest 
 and deepest emotions, the symbol of his own better self. 
 Moreover, the Violin is a curiosity as well as a mechanical con- 
 trivance. Thus, it is cherished, perhaps, for its old associations 
 it may have been the companion of a valued friend, or it may 
 be prized as a piece of artistic work, or it may be valued, inde- 
 pendently of other associations, for the simple purpose for 
 which it was made, viz., to answer the will of the player when 
 touched with the bow. The singular powers centred in the 
 Violin have been beautifully expressed by Oliver Wendell 
 Holmes, who says: "Violins, too. The sweet old Amati ! 
 the divine Stradiuarius ! played on by ancient maestros until 
 the bow hand lost its power, and the flying fingers stiffened. 
 Bequeathed to the passionate young enthusiast, who made it 
 whisper his hidden love, and cry his inarticulate longings, and 
 scream his untold agonies, and wail his monotonous despair. 
 Passed from his dying hand to the cold virtuoso, who let it 
 slumber in its case for a generation, till, when his hoard was 
 broken up, it came forth once more, and rode the stormy sym- 
 phonies of royal orchestras, beneath the rushing bow of their 
 lord and leader. Into lonely prisons with improvident artistes ; 
 into convents from which arose, day and night, the holy hymns 
 with which its tones were blended ; and back again to orgies, 
 in which it learned to howl and laugh as if a legion of devils 
 were shut up in it ; then, again to the gentle dilettante who 
 calmed it down with easy melodies until it answered him softly 
 
JOSEPH GUAKNBKIUS DEL JESU. 
 
AND ITS VOTARIES. 117 
 
 as in the days of the old maestros, and so given into our hands, 
 its pores all full of music, stained, like the meerschaum, through 
 and through with the concentrated hue and sweetness of all the 
 harmonies which have kindled and faded on its strings." The 
 gifted author of the "Autocrat of the Breakfast Table" has 
 evidently made himself acquainted with the various life phases 
 of a Violin. 
 
 The fancy for the Violin as a curiosity has been a matter of 
 slow growth, and has reached its present proportions solely 
 from the intrinsic merits of its object. The Violin has not come 
 suddenly to occupy the attention of the curious, like many 
 things that might be named which have served to satisfy a taste 
 for the collection of what is rare or whimsical, and to which an 
 artificial value has been imparted. In those days when the old 
 Brescian and Cremonese makers flourished, the only considera- 
 tion was the tone-producing quality of their instruments ; the 
 Violin had not then taken its place among curiosities. The 
 instruments possessing the desired qualities were sought out 
 until their scarcity made them legitimate food for the curious. 
 Beauties, hitherto passed over, began to be appreciated, the 
 various artistic points throughout the work of each valued 
 maker were noted, and in due time Violins had their connois- 
 seurs as well as their players. 
 
 Besides Italy, England, France, and Germany have each 
 had their great men in the Fiddle world, whose instruments 
 have ever been classed as objects of verht. Mace, in his 
 "Musick's Monument, " published in 1676, gives, perhaps, the 
 earliest instance of curiosity prices in England. "Your best 
 provision (and most compleat) will be a good chest of Viols ; 
 six in number, viz., two Basses, two Tenors, and two Trebles, 
 all truly and proportionately suited ; of such there are no better 
 in the world than those of Aldred, Jay, Smith ; (yet the highest 
 in esteem are) Bolles and Ross (one Bass of Bolles I have 
 known valued at ^"100). These were old. Our knowledge in 
 these old days must have been very limited in all matters 
 touching music, but from the above curious extract we glean 
 that the Fiddle family was receiving some attention. The 
 makers in England, whose instruments seem to have reached 
 curiosity prices are Bolles, Jay, Barak Norman, Duke, Wamsley, 
 Banks, and Forster ; the value attached at different periods to 
 the works of these men has nearly approached the prices of 
 Cremonese work. Of course the high value set upon the in- 
 struments of the makers above named was confined to England. 
 
 Turning to France, we find that many of the old French 
 makers' instruments brought prices greatly in excess of their 
 original cost. The favourite French makers were Mdard, 
 Bpcquay, Pierray. Gavinies, of the old school ; and Lupot and 
 Pique of the modern. 
 
 In Germany there have been makers whose works have 
 
2i8 THE VIOLIN 
 
 brought very high prices. Stainer, Albani, Withalm, Schein- 
 lein, are names that will serve to associate high values with 
 German work. In the case of Jacobus Stainer, the celebrity of 
 his instruments was not confined to Germany ; they were highly 
 prized by the English and French, and at one period were more 
 valued than the best Amatis. It was not until the vast supe- 
 riority of Italian Violins over all others was thoroughly recog- 
 nised, that the love of the instrument as a curiosity reached 
 its present climax. In Italy, the value set upon the chief 
 Cremonese works, though great, was comparatively insignifi- 
 cant, as far as the Italians themselves are concerned, when 
 France and England came into competition with them for the 
 possession of their Amatis, Stradiuarius, Guarnerius, and other 
 gems, they at once yielded the contest. 
 
 The introduction of Italian instruments into Great Britain 
 was a matter of slow growth, and did not assume any propor- 
 tions worthy of notice until the commencement of the present 
 century, when London and Paris became the chief marts from 
 whence the rare works of the old Italians were distributed over 
 Europe. By this time the taste of the Fiddle world had under- 
 gone a considerable change. The instruments in use among 
 the dilettanti in France and England had hitherto been those 
 built on the German model of the school of Jacobus Stainer. 
 The great German maker was copied with but little intermission 
 for upwards of a century dating from about 1700 to 1800, a 
 period of such considerable extent as to evidence the popu- 
 larity of the model. Among the Germans who were following 
 in the footsteps of Stainer were the family of Kloz, Withalm, 
 Statelmann, and others of less repute. In England there was 
 quite an army of Stainer worshippers. There was Peter Wams- 
 ley, Barrett, Benjamin Banks, the Forsters, Richard Duke, and 
 a whole host of little men. Among the makers mentioned, 
 there are three, viz., Banks, Forster and Richard Duke, who 
 did not copy Stainer stedfastly. Their early instruments are of 
 the German form, but later they made many copies of the 
 Cremonese. To Benjamin Banks we are indebted for having 
 led the English makers to adopt the pattern of Amati. He had 
 long laboured to popularise the school which hesomuch loved, 
 but met with little encouragement in the beginning, so strong 
 was the prejudice in favour of the high model. How ever he 
 triumphed in the end, and completely revolutionised the taste 
 in England, till our Fiddle fanciers became total ab-Stainers ! 
 Then commenced the taste for instruments of flat form. Where 
 were they to be found? If the ft-w by the early English makers 
 be exeepted, there were none but those of the Italians to be 
 had, and perhaps, a few old French specimens. Attention was 
 thus directed to the works of the Cremonese. and the year 1800 
 or thereabouts, may be put down as the time when the tide of 
 Italian Violins had fairly set in towards France and England. 
 
AND ITS VOTARIES. u 9 
 
 The instruments by the Amatis were those chiefly sought after ; 
 the amount of attention they commanded at this period was 
 probably about equal to that bestowed upon the works of 
 Stradiuarius and Guarnerius at the present time. Violins of 
 Amati and other makers were then obtainable at prices of a 
 nominal character. The number in Italy was far in excess of 
 her requirements, the demand made upon them for choir pur- 
 poses in former days had ceased, and the Violins were thus 
 quite out of proportion to the players. The value of an Amati 
 in England in 1799 and 1804, may be gathered from the follow- 
 ing extracts from the day-book of the second William Forster, 
 who was a dealer as well as maker: "2oth April, 1799. A 
 Violoncello by Nicholas Amati, with case and bow, ij 17?. 
 od. ;" and further on " 5th July, 1804, an Amati Violin, ^"31 
 i os. pd." These prices were probably less than those which 
 \Yiliiam Forster received for many instruments of his own make. 
 It is certain that these low prices did not long continue ; the 
 price increased in due proportion to the vanishing properties of 
 the supply. The call for Violins by the Amatis was so clamor- 
 ous as speedily to affect this result ; the prices for them were 
 doubled, trebled, and often quadrupled, until they no longer 
 found a home in their native land. The value set on them by 
 the French and English so far exceeded that which the Italians 
 themselves could afford, even though inclined to indulge in 
 such things, that the sellers were as eager to sell as the buyers 
 to buy. During the time of this scramble for the instruments 
 of Cremona, the theory of the flat model was fast gaining 
 ground. The circulation of the works of Cremona among the 
 players of France and England led to a comparison of the 
 various forms, and it was found that the elevated model was 
 inferior in every way when tested by the works of the great 
 Italian makers. Hitherto no distinction had been drawn as 
 regards value among the productions of the several members of 
 the Amati family. Andrea had been looked upon as equivalent 
 to Jerome, Antony, or Nicholas ; but attention now began to be 
 directed towards the works of the brothers, and to those of 
 Nicholas in particular, as the flat model gained in the apprecia- 
 tion of the Fiddling world. Grand Amatis became the coveted 
 Fiddles ; they were put up frequently at thrice the value of the 
 smaller patterns a position they still maintain. The taste 
 for the flat form having thus been developed, the works of 
 Antonius Stradiuarius came to the front, slowly but surely ; 
 their beauties now became known outside the circle in which 
 they had hitherto been moving : a circle made up chiefly of 
 royal orchestras (where they were used at wide intervals), 
 convent choirs, and private holders, who possessed them with- 
 out Ueing in the least aware of their merits. They were now 
 eagerly sought by soloists in all parts of Europe, who spread 
 their fame far and wide. Their exquisite form and finish capti- 
 
120 THE VIOLIN 
 
 vating the dilettanti, the demand increased to an extent far 
 beyond that commanded by the works of the Amatis at the 
 height of their popularity. 
 
 There were a few Stradiuarius instruments in England 
 when Amati was the favourite maker, and their value at that 
 period may be estimated from the fact that Cervetto, the father 
 of the famous violoncellist was unable to dispose of a Stradi- 
 uarius Violoncello for five pounds, a circumstance which shows 
 how blind our forefathers were to the merits of the greatest 
 maker the world has had. Among the artistes of the early 
 part of the present century who used the instruments of Stradi- 
 uarius were Boccherini, Viotti, Rode, Kreutzer, Habeneck, 
 Mazas, Lafont, and Bailliot. 
 
 About the year 1820 the fame of Joseph Guarnerius as a 
 great maker was published beyond Italy, chiefly through the 
 instrumentality of Paganini. That wondrous player came to 
 possess a splendid specimen of Guarnerius del Jesu, dated 1743, 
 now sleeping in the museum at Genoa, which Paganini used in 
 his tour through France and England. He became the owner 
 of this world-famed Violin in the following curious manner. A 
 French merchant (M. Li vron) lent him the instrument to play 
 upon at a concert at Leghorn. When the concert had con- 
 cluded, Paganini brought it back to its owner, when M. Livron 
 exclaimed, "Never will I profane strings which your fingers 
 have touched ; that instrument is yours. ' ' A more fitting pres- 
 ent or higher compliment could not have been offered. The 
 names of Amati and Stradiuarius became familiar to the musical 
 world gradually, but Guarnerius, in the hands of a Paganini, 
 came forth at a bound. This illustrious Violin was often cred- 
 ited with the charm which belonged to the performer ; the 
 magical effects and sublime strains that he drew forth from 
 it must, it was thought, rest in the Violin. Every would-be 
 violinist, whose means permitted him to indulge in the luxury, 
 endeavoured to secure an instrument by the great Guarnerius. 
 Trie demand thus raised brought forth those gems of the Violin 
 maker's art now in the possession of wealthy amateurs and a 
 few professors. When the various works of the gifted Guar- 
 nerius were brought to light, much surprise was felt that such 
 treasures should have been known only to a handful of obscure 
 players, chiefly in the churches of Italy. The Violin used by 
 Paganini belongs to the last period of the great maker, and, 
 consequently, is one of those bold and massive instruments of 
 his grandest conception, but lacks the beautiful finish of the 
 middle period. The connoisseurs of those days had associated 
 Joseph Guarnerius with the Violin of the type of Paganini's 
 only; their surprise was great when it was discovered that 
 there were three distinct styles in the works of Guarnerius, one 
 evidencing an artistic grandeur, together with a high finish, 
 but little inferior to those of Antonius Stradiuarius. The 
 
AND ITS VOTARIES. 12 r 
 
 marked difference between these epochs of Guarnerius manu- 
 facture has led to a great amount of misconception. Thirty 
 years since, the world possessed little information on the sub- 
 ject, and the connoisseur of those times could not believe it 
 possible that these varied styles emanated from one mind. 
 The opportunities given to the connoisseur of later days of 
 comparing these various instruments of the several epochs of 
 Guarnerius have set at rest all doubts concerning them. They 
 no longer require dates or labels ; they are as easily distin- 
 guished and classed as the works of Amati or Stradiuarius. 
 
 Attention was claimed for the works of Maggini by the 
 charming Belgian violinist, Charles de Be"riot, who, early 
 admiring the large proportions and powerful tone of Maggini's 
 instruments, decided to use one for public playing. That an 
 artist so refined as de Beriot, and one who attached so much 
 importance to that sympathy between the Violin and player 
 which should make it the vehicle for presenting its master's 
 inward feelings, should have selected a Violin of large size, and 
 adapted for giving forth a great volume of tone, was a matter 
 of surprise to a great many of his contemporaries. Those who 
 judged only from his school of playing anticipated that he 
 would have selected Amati as embodying the qualities he so 
 passionately admired. It is certain, however, that he succeeded 
 in bringing the penetrating power of his Maggini thoroughly 
 under his control. In the instruments of Maggini, de Be"riot 
 doubtless recognised the presence of vast power, together with 
 no inconsiderable amount of purity of tone, and to bring forth 
 these qualities to the best advantage was, with him, a labour of 
 love. The popularity of Maggini's Violins rapidly raised their 
 value. Instruments that, before de Beriot made them widely 
 known, might have been purchased for ten pounds, realised 
 one hundred. The Violin known as " De B^riot's Maggini" 
 remained in his possession till within a short time of his death, 
 when it was disposed of to his friend and patron, the Prince de 
 Chimay, it is said, for the enormous sum of six hundred pounds, 
 a price far in excess of the average value of Maggini's instru- 
 ments. In this instance, the association of de Beriot with the 
 instrument is sufficient, perhaps, to account for the rare price 
 set upon it. 
 
 We now reach the time when Carlo Bergonzi began to be 
 regarded as a maker of the first-class. As a Cremonese maker, 
 he was one of the latest to receive the attention to which his 
 exceptional merits fairly entitled him . To English connoisseurs 
 belongs the credit of appreciating this great maker. 
 
 The recognised merits of the makers already named natu- 
 rally caused a demand for Italian instruments generally. If the 
 masters could not be had the pupils must be found, hence, a 
 whole host of Italian makers, quite unknown in England fifty 
 years since, became familiar to the connoisseur. The works 
 
]22 THE VIOLIN 
 
 of Gundagnini, Gagliano, Grancino, Sanctus Seraphino, Mon- 
 tagnano, and others, whose names it is unnecessary to give, 
 passed from Italy into France and England, until the various 
 schools of Italian Violin manufacture were completely ex- 
 hausted. When we look back, it is surprising that so much has 
 been achieved in such a brief space of time. The knowledge 
 of Italian works in 1800 was of the slenderest kind, both in 
 France and England ; in less than three-quarters of a century 
 those countries have contrived to possess themselves of the 
 finest specimens of Cremonese instruments, together with those 
 of other Italian schools. We here have an example of the 
 energy and skill that is brought to bear upon particular branches 
 of industry when once a demand sets in. Men of enterprise 
 rise with it unnoticed, and lead the wav to the desired end. In 
 the case of Italian Violins it was Louis Tarisio who acted as 
 pioneer a being of singular habits, whose position in the 
 history of the Violin, considered as a curiosity, is an important 
 one. This remarkable man was born of humble parents, 
 wholly unconnected with the musical art. In due time he 
 chose the trade of a carpenter, whose vocation he followed 
 with assiduity, if not with love. He amused himself during 
 his leisure hours in acquiring a knowledge of playing on the 
 Violin, an accomplishment that was destined to exercise a 
 considerable influence on his future life, far greater than con- 
 templated by the young carpenter. That his playing was not 
 of a high order may be readily imagined : it was confined 
 chiefly to dance music, with which he amused his friends, 
 fiddling to their dancing. His first Violin was a very common 
 instrument, but it served to engender within him that which 
 afterwards became the ruling passion of his life. His study of 
 this little instrument was the seed from which grew his vast 
 knowledge of Italian works. So much was his attention 
 absorbed by the form of the instrument that any skill in playing 
 upon it became quite a secondary consideration. He endeav- 
 oured to see all the Violins within his reach, and to observe 
 their several points of difference. The passion for old Violins, 
 thus awakened, caused him to relinquish his former employ- 
 ment entirely, and to devote the whole of his attention to the 
 art which he so loved. He soon became aware of the growing 
 demand for Italian works, and felt that, possessed with a varied 
 and proficient knowledge of the different styles of workman- 
 ship belonging to the Italian schools of Violin making, he 
 could turn his present acquirements to a profitable as well as 
 pleasurable use. He resolved to journey in search of hidden 
 Cremonas. His means were, indeed, very limited. His stock- 
 in-trade consisted only of a few old Violins of no particular 
 value. With these he commenced his labours, journeying in 
 the garb of a pedlar, on foot, through Italian cities and villages, 
 and often playing his Violin in order to procure the bare means 
 
AAD ITS VOTARIES. 123 
 
 of existence. Upon entering a village he endeavoured to in- 
 gratiate himself with the villagers, and thus obtained informa- 
 tion of the whereabouts of any inhabitants who were possessed 
 of any member of the Fiddle family, his object being to exam- 
 ine and secure, if possible, such instruments as were possessed 
 of any merit. It can readily be conceived that at the commence- 
 ment of the present century, numbers of valuable Cremonese 
 and other instruments were in the hands of very humble people. 
 Louis Tarisio knew that such must be the case, and made the 
 most of his good fortune in being the first connoisseur to 
 visit them. His method of trading was either to sometimes 
 exchange with the simple villagers, giving them a Violin in 
 perfect playing order for their shabby old instrument that lacked 
 all the accessories. It was indeed the case of Aladdin's Lamp, 
 and as potent were these Fiddles as the wonderful lamp or ring 
 itself. In the possession of Louis Tarisio they drew forth from 
 the purses of the wealthy, gold that would have enabled the 
 humble villagers to have ceased labour. It is an axiom, how- 
 ever, that everything on this earth is of value providing it is in 
 its proper place, and these rare old instruments, in the keeping 
 of the poor peasants, could scarcely be considered to be in 
 their proper element ; their ignorant possessors were alike 
 unable to appreciate their sterling worth, as works of art, or 
 their powers of sound. In thus putting it I have no wish to 
 be accused of lax morality. Louis Tarisio. after gathering to- 
 gether a number of old rarities, made for his home, and busied 
 himself in examining the qualities of his stock, selecting the 
 best works, which he laid aside. With the residuum of those 
 instruments he would again set out, using them as his capital 
 wherewith to form the basis of future transactions among the 
 peasantry and others. He visited the numerous monasteries 
 throughout Italy that he might see the valuable specimens 
 belonging to the chapel orchestras. He found them often in a 
 condition ill becoming their value, and tendered his service 
 to regulate and put them into decent order ; services gladly 
 accepted and faithfully performed by the ardent connoisseur. 
 By the handling of these buried treasures, his knowledge and 
 experience were greatly extended. Makers hitherto unknown 
 to him became familiar. When he met with instruments 
 apparently beyond the repairer's skill, he would make tempt- 
 ing offers of purchase, which were often accepted. Having 
 accumulated many instruments of a high order during these 
 journeys, he began to consider the best means of disposing of 
 them. He decided upon visiting Paris. He took with him the 
 Violins he valued least, resolving to make himself acquainted 
 with the Parisian Fiddle market before bringing forth his 
 treasures. It is said that he undertook this journey on foot, 
 depriving himself often of the common necessaries of life, that 
 he might have more money to buy up his country's Fiddles. 
 
J24 THE VIOLIN 
 
 His first visit to Fails was in 1827, an eventful year in the his- 
 tory of Italian Violins, as far as relates to Paris. Upon arriving 
 in the French capital, he directed his steps to the nearest luthier, 
 one Aldric, to whom he had been recommended as a purchaser 
 of old instruments of high value. Upon arriving at the shop 
 of M. Aldric, Tarisio hesitated before entering, feeling suddenly 
 that his appearance was scarcely in keeping with his wares, his 
 clothes being of the shabbiest description, his boots nearly 
 soleless, and his complexion, naturally inclined to blackness, 
 further darkened by the need of ordinary ablutions. However, 
 he set aside these thoughts, and introduced himself to the 
 luthier as having some Cremona Violins for sale. Aldric 
 regarded him half contemptuously, and with a silence intended 
 to convey to Tarisio that he heard what he said, but did not 
 believe it. The Italian, to the astonishment of the luthier, was 
 not long in verifying his statement ; he opened his bag and 
 brought forth a beautiful Nicholas Amati, of the small pattern, 
 in fine preservation, but having neither finger-board, strings, 
 nor fittings of any kind. The countenance of the luthier 
 brightened when he beheld this unexpected specimen of the 
 Italian's wares. He carefully examined it, and did his best 
 to disguise the pleasureable feelings he experienced. He de- 
 manded the price. The value set on it was far in excess of 
 that he had anticipated ; he erroneously arrived at the probable 
 cost from an estimate of the shabby appearance of the man. 
 He had been comforting himself that the Italian was unaware 
 of the value put upon such instruments. He decided to see 
 further the contents of the bag before expressing an opinion as 
 to the price demanded for the Amati. Violins by Maggini, 
 Rugerius, and others, were produced six in number. Tarisio 
 was asked to name his price for the six After much giving 
 and taking they became the property of the luthier. This 
 business was not regarded as satisfactory by Tarisio ; he had 
 over-estimated the value of his goods in the Paris market ; he 
 had not learned that it was he himself who was to create the 
 demand for high-class Italian instruments by spreading them 
 far and wide, so that their incomparable qualities might be 
 observed. He returned to Italy with his ardour somewhat 
 cooled ; the ready sale at the prices he had put upon his stock 
 was not likely to be realised, he began to think. However, 
 with the proceeds of his Paris transaction he again started in 
 search of more Cremonas, with about the same satisfactory 
 results. He resolved again to visit Paris, and take with him 
 some of his choicest specimens. He reached the French capital 
 with a splendid collection one that in these days would create 
 a complete furore throughout the world of Fiddles. He ex- 
 tended his acquaintance with the Parisian luthiers. Among 
 these were M. Vuillaume, Thibout, and Chanot senior ; they were 
 all delighted with the gems that Tarisio had brought, and 
 
AND ITS VOTARIES. 125 
 
 encouraged him to bring to France as many more as he could 
 procure, and at regular intervals. He did so, and obtained at 
 each visit better prices. 
 
 This remarkable man may be said to have lived for nought 
 else but his Fiddles Mr. Charles Reade, who knew him well, 
 says,* " The man's whole soul was in Fiddles. He was a great 
 dealer, but a greater amateur ; he had gems by him no money 
 would buy from him." It is related of him that he was in Paris 
 upon one occasion, walking along the Boulevards with a friend, 
 when a handsome equipage belonging to a French magnate 
 passed, the beauty of which was the talk of the city. Tarisio's 
 attention being directed to it by his friend, he calmly answered 
 him that "he ivould sooner possess one ' Stradiuarius ' than 
 twenty such equipages.'" There is a very characteristic anec- 
 dote of Tarisio, which is also related by Mr. Reade in his article 
 on "Cremona Violins," entitled the " Romance of Fiddle- 
 dealing:" "Well, one day Georgts Chanot, senior, made an 
 excursion to Spain, to see if he could find anything there. He 
 found mighty little, but coming to the shop of a Fiddle-maker, 
 one Ortega, he saw the belly of an old bass hung up with other 
 things. Chanot rubbed his eyes, and asked himself was he 
 dreaming? the belly of a Stradiuarius Bass roasting in a shop 
 window ! He went in, and very soon bought it for about forty 
 francs. He then ascertained that the Bass belonged to a lady 
 of rank. The belly was full of cracks ; so, not to make two 
 bites of a cherry, Ortega had made a nice new one. Chanot 
 carried this precious fragment home and hung it up in his shop, 
 but not in the window, for he was too good a judge not to 
 know the sun will take all the colour out of that maker's var- 
 nish. Tarisio came in from Italy, and his eye lighted instantly 
 on the Stradiuarius belly. He pestered Chanot till the latter 
 sold it him for a thousand francs, and told him where the 
 rest was. Tarisio no sooner knew this than he flew to Madrid. 
 He learned from Ortega where the lady lived, and called on 
 her to see it. 'Sir,' says the lady, ' it is at your disposition.' 
 That does not mean much in Spain. When he offered to buy 
 it, she coquetted with him, said it had been long in her family ; 
 money could not replace a thing of that kind, and, in short, she 
 puf on the screw, as she thought, and sold it him for about four 
 thousand francs. What he did with the Ortega belly is not 
 known ; perhaps sold it to some person in the toothpick trade. 
 He sailed exultant for Paris with the Spanish Bass in a case. 
 He never let it go out of his sight. The pair were caught by a 
 storm in the Bay of Biscay ; the ship rolled ; Tarisio clasped 
 his Bass tight and trembled. It was a terrible gale, and for one 
 whole day they were in real danger. Tarisio spoke of it to me 
 with a shudder. I will give you his real words, for they struck 
 
 * Cremona Violins, " Pall Mall Gazette." August, 1872. 
 
J26 THE VIOLIN 
 
 me at the time, and I have often thought of them since. 'Ah, 
 )>iy poor Mr. Reade, the Bass of ^pain was all but lost ! ' 
 
 "Was not this a true connoisseur a genuine enthusiast? 
 Observe, there was also an ephemeral insect called Luigi Tar- 
 isio, who would have gone down with the Bass ; but that made 
 no impression on his mind. De mimmis nun cural Ludovicus. 
 
 " He got it safe to Paris. A certain high priest in these 
 mysteries, called Vuillaume, with the help of a sacred vessel, 
 called the glue-pot, soon re-wedded the back and sides to the 
 belly, and the Bass now is just what it was when the ruffian 
 Ortega put his finger in tlu pie. It was sold for 20,000 fr. 
 (;8oo). I saw the Spanish Bass in Paris twenty-five years ago, 
 and you can see it any day this month you like, for it is the 
 identical Violoncello now on show at Kensington numbered 188. 
 Who would divine its separate adventures, to see it all reposing 
 so calm and uniform in that case Post tot naufragia tutus." 
 
 The love -of Tarisio for the masterpieces of the great 
 makers was so intense, that often, when he had parted with 
 the works he so admired, he never lost sight of them, and 
 waited a favourable opportunity for again making himself their 
 -owner. 
 
 It is related of him that upon one occasion he disposed of a 
 beautiful Stradiuarius in perfect preservation to a Paris dealer. 
 After having done so he hungered for it again. For years he 
 never visited Paris without enquiring after his old favourite, 
 and the possibility of its again being offered for sale, that he 
 might regain possession of it. At last his perseverance was 
 rewarded, inasmuch as he heard that it was to be bought. He 
 instructed his informant to obtain for him a sight of it. The 
 instrument was fetched, and Tarisio had scarcely patience 
 enough to await the opening of the case, so anxious was he to 
 see his old companion. He eagerly took up the Violin, and 
 turned it over and over, apparently lost to all about him, when 
 suddenly his keen eyes rested upon a damage it had received, 
 which was hidden by new varnish. His heart sank within him ; 
 he was overcome by this piece of vandalism. In mingled 
 word^ of passion and remorse he gave vent to his feelings. He 
 placed it in its case, remarking sadly that it had no longer any 
 charm for him. 
 
 In the year 1851 Tarisio visited England, when Mr. John 
 Hart, being anxious that he should see the chief collections of 
 Cremonese instruments in this country, accompanied him, 
 amongst others, to the collection of the late Mr. James Coding, 
 which was then the finest in Europe. The instruments were 
 arranged on shelves at the end of a long room, and far removed 
 from them sat the genuine enthusiast, patiently awaiting the 
 promised exhibition. Upon Mr. Coding taking out his treasures 
 lie was inexpressibly astonished to hear his visitor calling out 
 the maker of each instrument before he had had time to 
 
AND ITS VOTARIES. j^ 7 
 
 advance two paces towards him, at the same time giving his host 
 to understand that he thoroughly knew the instruments, the 
 greater number having been in his possession. Mr. Coding 
 whispered to a friend standing by, "Why the man must cer- 
 tainly smell them, he has not had time to look." Many instru- 
 ments in this collection Tarisio seemed never tired of admiring. 
 He took them up again and again, completely lost to all around 
 in a word, spell-bound. There was the " King " Guarnerius 
 the Guarnerius known as Lafont's the beautiful Bergonzi 
 Violin the Viola known as Lord Macdonald's General Kidd's 
 Stradiuarius Violoncello the Marquis de la Rosa's Amati 
 Ole Bull's Guarnerius the SanctusSeraphino Cello andother 
 remarkable instruments too numerous to mention. Who can 
 say what old associations these Cremona gems brought to his 
 memory? For the moment, these Fiddles resolved themselves 
 into a diorama, in which he saw the chief events of his life 
 played over again. With far greater truthfulness than that 
 which his unaided memory could have supplied, each Fiddle 
 had its tale to relate. His thoughts were carried back to the 
 successful energies of his past. 
 
 Tarisio may be said to have lived the life of a hermit to the 
 time of his death. He had no pleasures apart from his Fiddles ; 
 they were his all in this world. Into his wretched lodgings 
 near the " PortaTenaglia," in Milan, no living being but himself 
 was ever permitted to enter. His nearest neighbours had not 
 the least knowledge of his occupation. He mounted to his 
 attic without exchanging a word with any one, and left it 
 securely fastened to start on his journeys in the same taciturn 
 manner. He was, consequently, regarded as a mysterious 
 individual, whose doings were unfathomable. The time, how- 
 ever, has arrived when the veil hiding the inner life of this 
 remarkable man should be lifted, and here I am indebted for 
 particulars to Signor Ceruti, of Cremona, who received them 
 from a reliable source. Tarisio had been seen by his ever- 
 watchful neighbours to enter his abode, but none had noticed 
 him quit it for several days. The door was tried and found 
 locked ; no answer was returned to the sundry knockings. 
 That Tarisio was there the neighbours were convinced. The 
 facts were at once brought under the notice of the municipal 
 authorities, who gave instructions that an entry should be made 
 by force into the mysterious man's apartment. The scene wit- 
 nessed was indeed a painful one. On a miserable couch rested 
 the lifeless body of Louis Tarisio ; around, everything in the 
 utmost disorder. The furniture of the apartment consisted 
 mainly of a chair, table, and the couch upon which lay the 
 corpse. A pile of old Fiddle-boxes here and there, Fiddles 
 hung around the walls, others dangling from the ceiling. Fiddle 
 backs, Fiddle heads and bellies in pigeon holes ; three Double- 
 Basses tied to the wall, covered over with sacking. This was 
 
i;8 THE VIOLIN 
 
 the sight that met the gaze of the authorities. Little did they 
 imagine they were surrounded with gems no money would 
 have bought from their late eccentric owner. Here was the 
 famous " Messie " Stradiuarius, which had never had a bow on 
 its strings, some half dozen other Stradiuarius Violins, Tenors, 
 and Violoncellos, the Chamber Gaspard diSalo Double-Bass 
 in my possession, and the Rugerius now belonging to J. R. 
 Bridson, Esq., besides nearly 100 Italian instruments of various 
 makers. All these were p.ibsed over by the visitors as so much 
 rubbish in their search for something more marketable. At 
 last they alighted upon a packet of valuable securities together 
 with a considerable amount of gold. A seal was placed upon 
 the apartment pending inquiries as to the whereabouts of the 
 dead man's relatives. In due time, some nepheu-s came forth 
 and laid claim to the goods and chattels of the Italian Fiddle 
 connoisseur. 
 
 The death of Tarisio being communicated to Vuillaume, 
 of Paris, he soon set out for Milan, and had the good fortune to 
 secure ttie whole of the collection at a price, no doubt, which 
 left him a handsome profit upon the transaction, besides the 
 pleasurable feeling in becoming the possessor of such a varied 
 and remarkable number of instruments. 
 
 Having given the reader all the information I have 
 been able to collect concerning Tarisio, I will only add that he 
 had advantages over all other connoisseurs, inasmuch as he 
 found the instruments mostly in their primitive condition, and 
 free from any tampering as regards the labels within them. He 
 was thus enabled to learn the characteristics of each without 
 fear of confusion. The days of taking out the labels of unmar- 
 ketable names and substituting marketable counterfeits had not 
 arrived. 
 
 Another Italian, named Turina, encouraged by the success 
 of Louis Tarisio's traffic in old Violins, endeavoured to follow 
 in his footsteps, and was fortunate in securing a few fine works, 
 of which he readily disposed in Paris. He wanted, however, 
 the keen judgment of Tarisio, and soon found himself behind 
 in the race. 
 
 The principal buyers of Italian instruments on the Conti- 
 nent, when dealing in this class of property was in its infancy, 
 were, Aldrich, M. Chanot, senior, Thibout, Gand, Vuillaume of 
 Paris, and Vuillaume of Brussels. In London, among others, 
 were Davis, Belts, Corsby, and John Hart. There is yet 
 another, the omission of whose name would be a blemish in 
 any notice of the Violin and its connoisseurs. I refer to Mr. 
 Charles Reade, the novelist, who in early life took the highest 
 interest in old Italian Violins. We are indebted to him in a 
 great measure for bringing into this country many of the most 
 beautiful specimens we possess. Impressed with the charms 
 of the subject, he visited the Continent for the pleasure it 
 
AND ITS VOTARIES. 129 
 
 afforded him of bringing together choice specimens, and thus 
 opened up the intercourse between England and the Continent 
 for the interchange of old Violins which continues to this day. 
 It would be difficult to rind an instance where the intricacies of 
 the subject were so quickly mastered as in his case. Without 
 assistance, but solely from his own observation, he gained a 
 knowledge which enabled him to place himself beside the chief 
 Continental connoisseurs, and compete for the ownership of 
 Cremonese masterpieces. These were the men who laid bare 
 the treasures of Cremona's workshops, and spread far and 
 wide love and admiration for the fine old works. Connoisseur- 
 ship such as theirs is rare. To a keen eye was united intense 
 love of the art, patience, energy, and memory of no ordinary 
 kind, all of them attributes requisite to make a successful judge 
 of Violins. 
 
 In England the early collectors were the late Duke of Cam- 
 bridge, the Earl of Falmouth, Duke of Marlborough, Lord 
 Macdonald, and a few others. Later, Andrew Fountain, Esq., 
 ofNarford, Norfolk, became the owner of several fine Italian 
 instruments, and made himself better acquainted with the sub- 
 ject, perhaps, than any amateur of his time. Among the 
 Stradiuarius Violins which Mr. Fountain possessed was that of 
 Habeneck, the famous professor at the Paris Conservatoire in 
 the early part of the present century (from whom he purchased 
 it), the date of which is 1737, the year of Stradiuarius' death. 
 Another very fine specimen of the late period, 1734, was also 
 owned by him, a Violin of grand proportions, in a high state of 
 preservation, and of the richest varnish. This instrument is 
 numbered with those of W. Tyssen Amhurst, Esq. The Guar- 
 nerius Violins that he possessed were of a very high class. 
 Among these may be mentioned a very small Violin by Joseph 
 Guarnerius, probably uni jue, which instrument was exhibited 
 among the Cremonese Violins at the South Kensington Museum 
 in 1872, together with another of the same size by Stradiuarius, 
 and a third by the brothers Amati. 
 
 The number of rarities brought together by the late Mr. 
 James Coding was in every respect remarkable. At one period 
 tie owned twelve Stradiuarius Violins, and nearly the same 
 number by Joseph Guarnerius, all high-class instruments. It 
 would take up too much time and space to name the particular 
 instruments which were comprised in this collection. The 
 remnant of this group of Cremonese Fiddles was dispersed by 
 Messrs. Christie and Manson, in 1856. Mr. Plowden's collec- 
 tion was another remarkable one, consisting of eight instru- 
 ments of the highest class. 
 
 The late Joseph Gillott was a collector, who, in point of 
 number, exceeded all others. He did not confine himself 
 solely to the works of the greatest makers, but added speci- 
 mens of every age and clime ; and at one- time he must have 
 
fjo THE VIOLIN 
 
 had upwards of 500 instruments, the chief part of which be- 
 longed to the Italian school. When it is remembered that the 
 vast multitude of stringed instruments disposed of by Messrs. 
 Christie and Manson, in 1872, did not amount to one-half the 
 number originally owned by Mr. Gillott, some idea of the 
 extent of his collection may be gained. Among the many 
 curious instances of the love of collecting Violins, which some- 
 times possess those unable to use them, perhaps that of Mr. 
 Gillutt is the most singular. About the year 1848, he conceived 
 the notion of bringing together this mammoth collection ; and 
 in about four years had made himself master of the largest 
 number of Italian instruments ever owned by a single individ- 
 ual. He suddenly relinquished the pursuit he had followed 
 with such persistency ; he disposed of a great number, and 
 laid the remainder aside in his steel-pen works at Birmingham, 
 where they slumbered for upwards of twenty years. The 
 time at last arrived when this pile of Fiddles was to be 
 dispersed ; it fell to my lot to classify them, and never shall I 
 forget the scene I witnessed. Here, amid the din of countless 
 machines busy shaping magnum bonums, swan-bills, and 
 divers other writing implements, I was about to feast my eyes 
 on some of the choicest works of the old Italian Fiddle- 
 makers. Passing through offices, warehouses, and workshops, 
 I found myself at a door which my conductor set himself to 
 unlock, an act not often performed, I felt assured, from the 
 sound which accompanied his deed. To adequately describe 
 what met my eyes when the door swung back on its hinges, is 
 beyond my humble powers of description. Fiddles here ! 
 Fiddles there ! Fiddles everywhere ! in wild disorder. I 
 interrogated my friend as to the cause of their being in such an 
 unseemly condition, and received answer that lie had instruc- 
 tions to remove most of the instruments from their cases and 
 arrange them, that I might better judge of their merits. I was 
 at a loss to understand what he meant by arranging, for a 
 more complete disarrangement could not have been effected. 
 Not wishing to appear unmindful of the kindly intentions of 
 my would-be assistant, I thanked him, inwardly wishing that 
 this disentombment had been left entirely to me. The scene 
 was altogether so peculiar and unexpected as to be quite 
 bewildering. In the centre of the room was a large warehouse 
 table, upon which were placed in pyramids upwards of seventy 
 Violins and Tenors, stringless, bridgeless, unglued, and envel- 
 oped in the fine dust which had crept through the crevices of 
 the cardboard sarcophagi in which they had rested for the 
 past quarter of a century. On the floor lay the bows. The 
 scene might not inappropriately be compared to a post-mortem 
 examination on an extended scale. When left alone I began 
 to collect my thoughts as to the best mode of conducting my 
 enquiry. After due consideration I attacked pyramid No. i, 
 
AND ITS VOTARIES. 131 
 
 from which I saw a head protruding which augured well for 
 the body, and led me to think it belonged to the higher walks 
 of Fiddle life. With considerate care I withdrew it from the 
 heap, and gently rubbed the dust off here and there, that I 
 might judge of its breeding. It needed but little rubbing to- 
 make known its character ; it was a Viola by Joseph Guarne- 
 rius, filius Andrews, a charming specimen (now in the owner- 
 ship of the Earl of Harrington). Laying it aside, I pulled out 
 from the pile several others belonging to the same class. 
 Being too eager to learn of what real merits of this huge pile 
 of Fiddles consisted, I rapidly passed from one to the other 
 without close scrutiny, leaving that for an after pleasure. So 
 entirely fresh were these instruments to me, that the delight I 
 experienced in thus digging them out, may be well understood 
 by the connoisseur. After thus wading through those resting 
 on the table, I discovered some shelves upon which were a 
 number of cases, which I opened. Here were fine Cremonese 
 instruments in company wkh raw copies as curious a mixture 
 of good and indifferent as could be well conceived. Not 
 observing any Violoncellos, when my attendant presented 
 himself, I enquired if there were not some in the collection. I 
 was unable to make him understand to what I referred for 
 some little time, but when I called them big Fiddles, he 
 readily understood. He had some faint idea of having seen 
 something of the kind on the premises, and started off to 
 make enquiry. Upon his return, I was conducted to an under 
 warehouse, the contents of which were of a varied character. 
 Here were stored unused lathes, statuary, antique pianos, 
 parts of machinery, pictures and picture-frames. At the end 
 of this long room stood, in stately form, the "big Fiddles," 
 about fifty in number five rows, consequently ten deep. They 
 looked in their cases like a detachment of infantry awaiting 
 the word of command ! Years had passed by since they had 
 been called upon to take active service of a pacific and 
 humanising nature in the ranks of the orchestra. Had they 
 the power of speech what tale of heroism might they have 
 furnished of the part they played at the "Fall of Babylon," 
 and the "Siege of Corinth," eh! and the "Battle of Water- 
 loo," (Beethoven, Op. 91). A more curious mixture of art 
 and mechanism could not easily be found than that which the 
 contents of this room exhibited. With what delight did I pro- 
 ceed to open these long-closed cases ! The character of the 
 Violins naturally led me to anticipate much artistic worth in 
 the Violoncellos, and I had not judged erroneously. Ber- 
 gonzi, Amati, Andrea Guarnerius, Cappa, Grancino, Testore, 
 Landulphus, and men of less note,- were all well represented 
 in, this army of big Fiddles. Having glanced at the merits and 
 demerits of these instruments, I observed to my conductor 
 that I imagined I had seen all. "No," he answered ; " I was 
 
132 THE VIOLIN. 
 
 about to mention that there are a few Violins at Mr. Gillott's 
 residence, and perhaps we had better go there at once." I 
 readily assented, and in due time reached Edgbaston. There 
 seemed no doubt as to the whereabouts of these instruments, 
 and I was at once ushered into the late Mr. Gillott's bed-room. 
 Pointing to a long mahogany glazed case occupying one side 
 of the chamber, the attendant gave me to understand I should 
 there find the Violins. At onre I commenced operations. 
 Pushing aside the first sliding door, I saw a row of those card- 
 board cases made to hold the Violin only, which many of my 
 readers will doubtless remember seeing at the time of the sale 
 at Messrs. Christie's. By this time it may be readily imagined 
 that an idea had taken possession of my mind, that I had not, 
 after all, seen the best portion of the collection. The circum- 
 stance of Violins being deposited in the sleeping apartment of 
 their owner was sufficient to give birth to this conjecture. 
 Upon removing the lid of the first cardboard case, my eyes 
 rested on a charming Stradiuarius of the Amati period, a gem 
 of its kind. Gently laying it on the table that I might examine 
 it later, I opened the next case. Here rested a magnificent 
 Joseph Guarnerius, the instrument now owned by Lord Dun- 
 more, date 1732. Pursuing my delightful occupation, I opened 
 another case, the contents of which put the rest completely in 
 the shade here rested the Stradiuarius, date 1715, the gem of 
 the collection. Unable to sustain my curiosity, I rapidly 
 < pened sixteen cases in all, from which I took out six Stradi- 
 ' irius, two Guarnerius, one Bergonzi, two Amatis, and five 
 Violins of a high class. 
 
 It was observed at the time of the sale of this remarkable 
 collection, that "Every well-ordered display of fireworks 
 should have its climax of luminous and detonating splendour, 
 throwing into the shade all the preliminary squibs, crackers, 
 and rockets, the Catharine wheels, the Roman candles, and 
 the golden rain. The French, with modern propriety, term 
 this consummation a bouquet." I cannot find anything more 
 applicable than this word to the scene I have attempted to 
 describe. It only remains for me to say, in reference to this 
 array of Fiddles, that I passed a week in their company, and a 
 more enjoyable one I have never had during my professional 
 career. 
 
CARLO BERGONZI. 
 
SECTION XIV. 
 SKETCH OF THE PROGRESS OF THE VIOLIN. 
 
 IT may be said that the Violin made its appearance about the 
 middle of the i6th century. Mention is made by Fe"tis of 
 a Rebec, or Violin with three strings, by Andreas Amati, 
 bearing the date of 1546, and this strengthens me in my belief 
 that it was after this date that the instrument was equipped 
 with four strings. There are several instances where mention 
 is made of Violins and Violin-playing prior to the period 
 above named, but they are not such as to carry conviction to 
 the mind that they refer to the instruments now recognised as 
 the Violin. Leonardo da Vinci, the famous painter, who died 
 in 1523, is spoken of as having been a celebrated performer on 
 the Violin. The instrument he used is described as having had 
 a neck of silver, with the singular addition of a carved horse's 
 head.* This description, however, is sufficiently anomalous 
 to make one rather sceptical, as to whether the instrument 
 denoted possessed any particular affinity to the present 
 Violin. 
 
 Julian Tiburtino and Louis Lasagrino, who were in high 
 favour as musicians at Florence about 1530, are also mentioned 
 as Violin players, but were probably, performers on the small 
 Viol. 
 
 Bombet, in his letters on Haydn, says: "Symphonies, 
 therefore, were only an air played by the Violin instead of sung 
 by an actor. The learned will tell you that the Greeks, and 
 afterwards the Romans, had no other instrumental music ; at 
 least, it is certain that none was known in Europe before the 
 symphonies of Lully, but that which is necessary for dancing ; 
 and this imperfect music, in which one part only executed the 
 melody, was performed in Italy with but a small number of 
 instruments. Paul Veronese has preserved to us the form of 
 those which were in use in his time in the famous ' Cena di San 
 Giorgio,' which is at once the largest and most pleasing picture 
 in the Museum of Paris. In the foreground, in the vacant space 
 of the semicircle formed by the table, at which the guests of the 
 marriage of Cana are seated, Titian is playing on the Double- 
 Ba^, Paul Veronese and Tintoret on the Violoncello ; a man 
 with a cross on his breast is playing on the Violin, Bissano is 
 
 * " Livs of Haydn and Mozart," transla'ed from the French by L. A. C. 
 Bomet. 1818. 
 
 (33) 
 
j S f THE VIOLIN. 
 
 blowing the Flute, and a Turkish slave the Sackbut."* I have 
 not been able to ascertain whether the instruments above named 
 have been accurately described, but if the author is correct, we 
 have reliable evidence that the Violin was in use prior to 1550. 
 There is, however, considerable doubt about the proper nomen- 
 clature of the instruments. In a picture it is difficult to distin- 
 guish Viols from Violins, and still more so to define the mode 
 of stringing, which is an important point in settling the class to 
 which the instrument belongs. There was an instrument that 
 was in use prior to 1600 which had much in common with our 
 Violoncello, and yet cannot be identified with it, since it had 
 Jive strings, whereas, from about the middle of the jyth century, 
 the Violoncello was an instrument of definite character, and 
 possessed four strings only. If Tintoret and Paul Veronese 
 used an instrument having the shape of the Violoncello with four 
 strings, then, clearly, that instrument dates back much further 
 than has been hitherto imagined. Leaving, however, these in- 
 teresting historical points for the consideration of connoisseurs, 
 I will proceed to notice the earliest player on the Violin, of whom 
 we have any account worthy of attention, viz., Baltazarina, a 
 native of Piedmont. He removed to France in the year 1577, 
 whither he was sent by Marshal Brissac to superintend the 
 music of Catharine de Me"dicis. He delighted the court as 
 much by his skill on the Violin as by his writing of ballet music. 
 
 About the year 1583 a new species of music made way in 
 Italy which exercised a marked effect on the progress of the 
 Violin, namely, that of the concert orchestra. It was chiefly 
 cultivated at Venice and Ferrara. At the latter place the 
 Duke of Ferrara maintained a great number of musicians in his 
 service. At this period there were no concerts of a public char- 
 acter ; they were given in the palaces of the wealthy, and the 
 performers were chiefly those belonging to their private bands. 
 
 The opera, in which instruments were used to accompany 
 the voice, began to be put upon the stage of the public theatres 
 in Italy about the year 1600. The first opera ever printed 
 with music is said to have been "L'Orfeo de Monteverde," 
 represented at Mantua in 1607. The orchestral accompani- 
 ment for the opera in those times differed essentially from the 
 rdle of modern days. Particular instruments were selected to 
 accompany each character ; for instance, ten Treble Viols to 
 accompany Eurydice, two Bass Viols to Orpheus, and so on. 
 No mention is made of Violins further than that two small 
 Violins (duoi Violini piccoli alia Francese) are to accompany 
 the Character of Hope, from which it is inferred that a band of 
 Viu.ins was not much later. At this period, masses for voices 
 with accompaniments for Violins, written by Bassani, Carissimi, 
 and others, were performed in the Italian churches. 
 
 * This instrument, mentioned in the Bible, gave rise to the Trombone of the 
 Italians. 
 
SKETCH OF ITS PROGRESS. 135 
 
 In the " Harmonic Universelle " of Mersennus, published 
 in 1636, mention is made of the king's band of 24 Violins. 
 These were not of one size, but consisted of Treble, Tenor, 
 and Bass Violins, and the Tenors being of three sizes. The 
 music played at this time did not extend beyond the register 
 of the first position. Mersennus is very lavish of his praise 
 for the king's band of Violins, and remarks : 
 
 ."But if you wish to hear the upper alone, what can be 
 more elegant than the playing of Constance, what more 
 vehement than the playing of Boccan? what more delicate and 
 lender than the neat touches of Lazarin and Foucard ? Join 
 the bass of Leger to the acute sounds of Constance, you will 
 have all the harmonic numbers complete." 
 
 It is to the introduction of the Sonata that the rapid pro- 
 gress in the cultivation of Violin-playing may be attributed. 
 Giovanni Battista Bassani excelled in this species of composi- 
 tion. H is knowledge of the finger-board and bow was superior 
 to that of any writer for the instrument, previous to Bassanf s 
 great pupil, Corelli. The sonata was originally written for two 
 Violins and a Bass, with a Thorough-Bass for the Organ ; it 
 was thus played in the churches. Prior to this. Violins played 
 extempore flourishes in accompaniment of the chants. The 
 sonata was afterwards adapted to chamber use. In this branch 
 of composition Corelli shone forth with considerable lustre, 
 and gave to the culture of the Violin an impetus of much force. 
 It was at Rome that his first twelve Sonatas were published 
 about 1683. In 1685 the second set appeared, entitled " Balletti 
 da Camera;" five years later the third set were published. 
 The genius of Corelli maybe said to have revolutionized Violin 
 playing. He had followers in every part of Italy. There was 
 Clari at Florence, Vitali at Modena, Visconti at Cremona 
 (who, it is said, tendered his advice to-Stradiuarius upon the 
 construction of his instrument advice, I fancy, little needed), 
 Veracini at Bologna, and a host of others. 
 
 We must now retrace our steps somewhat, in order to allude 
 to another Violinist who considerably influenced the progress 
 of the leading instrument out of Italy, viz., Jean Baptiste Lully. 
 The son of a Tuscan peasant, born in the year 1633, Lully 's 
 name is so much associated with the romantic in the history of 
 Violin playing that he has been deprived in a great measure of 
 the merits justly his due for the part he took in the advancement 
 of the instrument. The story of Lully and the stew-pans* 
 
 * Lully having shown a disposition for music, received some instructions on the 
 rudiments of the art from a priest. The Chevalier de Guise, when on his travels 
 in Italy, had heen requested by Mademoi-ellede Montpensier, niece of Louis XIV., 
 to procure for her an Italian boy as apagr.and happening to see Lully ?t Florence, 
 he chose him for that purpose, on account of his wit and vivacity, and his skill in 
 playing on the guitar. The lady, however, not liking his appearance, sent him 
 into her kitchen, where he was made an under scullion, and amused himself by 
 arranging the stew-pans in tones and semitones, upon which he would play various 
 airs, to the utter dismay of the cook. 
 
136 THE VIOLIN. 
 
 bristles with interest for juvenile musicians, but the hero is often 
 overlooked by graver people on account of his culinary associ- 
 ations. When Lully was admitted to the Violin band of Louis 
 XIV. he found the members very incompetent : they could not 
 play at sight, and their style was of the worst description. The 
 Sonatas and airs for Violins common at that period in France 
 were poor in the extreme ; the Treble part had all the melody, 
 the Bass and Tenor were mere accompaniments. Lully con- 
 tributed much to the improvement of French music. In his 
 overtures he. introduced fugues, and was the first who, in the 
 choruses, made use of the side and kettle drums. He wrote 
 several operas and many compositions for the church, all of 
 which served to raise the musical taste in France. To him also 
 belongs the credit of having founded the French national opera. 
 We will now endeavour to trace the progress of the Violin 
 in England. It is gratifying to learn that we were, even in the 
 primitive age of Violin playing, not without our national com- 
 posers for the instrument. One Rogers wrote airs in four parts 
 for Violins so early as 1653 (the year Corelli was born). John 
 Jenkins wrote twelve sonatas for two Violins and a Bass, printed 
 in London in 1664, which were the first sonatas written by an 
 Englishman. In 1660, Charles II. established his band of 24 
 Violins. During his residence on the Continent he had frequent 
 opportunities of hearing the leading instrument, and seetns to 
 have been so much impressed with its beauties that he set up 
 for himself a similar band to that belonging to the French Court. 
 In the year 1668, Thomas Britton, known as the "small-coal 
 man " (from his having kept a stable in Clerkenwell where he 
 retailed that branch of commerce), gave the first series of con- 
 certs in this country, and a long series it was, extending over a 
 period of 46 years. The shape the movement took was that of 
 a musical club, which was maintained at Britton's expense. 
 
 "Tho* mean thy rank, yet in thy humble cell, 
 Did gentle peace and arts unpurchased dwell. 
 Well pleased, Apollo thither led his train, 
 And music warbled in her sweetest strain. 
 CylleniuE too, so fables tell, and Jove 
 Came willing guests to Poor Philemon's grove. 
 Let useless pomp behold, and blush to find 
 So low a station, such a liberal mind." * 
 
 Thus, the first germ of the great musical societies gave a 
 marked impulse to the culture of stringed music in England. 
 Attention was at once turned to the subject : its humanising 
 effects were recognised, and parties met in several places for 
 the practice of chamber music. The performances consisted 
 chiefly of Sonatas for two Violins and a Bass, a species of com- 
 position which had a long life, to judge from the number of 
 works of this character and date still extant. 
 
 These verses were written by Mr. John Hughes, who *ras a frequent per- 
 former on the Violin at Britton's concerts. (Hawkins). 
 
SKETCH OF ITS PROGRESS. 137 
 
 I have now to mention a Violinist whose talents raised the 
 instrument greatly, particularly in England, viz., Francesco 
 Geminiani. He was instructed by Corelli, and imbibed much 
 of his master's breadth of style. He came to England in the 
 year 1714. In 1716 he published a set of twelve sonatas, which 
 attracted some notice at the time from their novelty. In these 
 he plunged into difficulties deemed then very unusual, but 
 withal his compositions were elegantly written. He afterwards 
 wrote and published solos and concertos, besides a "Treatise 
 on Good Taste," "Rules for Playing in Good Taste," and the 
 "Art of Playing on the Violin," the latter being the first in- 
 struction book for the instrument deserving of the name. The 
 instrumental music at this period was composed for four 
 Violins, Tenor, Violoncello, and Double-Bass, and was called 
 the Concerto Grosso, a mode of composing introduced by 
 Giuseppe Torelli of Verona 
 
 Having lightly sketched the progress of the Violin in 
 England down to about the year 1750, it will, perhaps, be better 
 to take up the thread of the instrument's progress in Italy, 
 which we brought to the davs of Corelli. 
 
 The first half of the iSth century was rich in Italian Violin- 
 ists and writers for the instrument, of whom the chief was 
 Giuseppe Tartini, born in 1692. Dr. Burney says of his com- 
 positions : "Though he made Corelli his model in the purity 
 of his harmony and simplicity of his modulation, he greatly 
 surpassed that composer in the fertility and originality of his 
 invention ; not only in the subjects of his melodies, but in the 
 truly cantabile manner of treating them. Many of his adagios 
 want nothing but words to be excellent pathetic opera songs. 
 His allegros are sometimes difficult ; but the passages fairly 
 belong to the instrument for which they were composed, and 
 were suggested by his consummate knowledge of the finger- 
 board and the powers of the bow. As a harmonist, he was, 
 perhaps, more truly scientific than any other composer of his 
 time, in the clearness, character, and precision of his basses, 
 which were never casual, or to the effect of habit or auricular 
 prejudice and expectation, but learned, judicious, and certain." 
 It would be difficult to add to this judgment of the composi- 
 tions of Tartini. The truth of Burney's remarks are better 
 understood at this moment than wTien penned. During the 
 space of nearly a century the sonatas of Tartini lay dormant, 
 and only within the past few years have their beauties been 
 again recognised. Such works as Tartini's are all-important 
 links in the chain of musical progress. 
 
 Pietro Locatelli, a pupil of Corelli, introduced a style of 
 playing quite in advance of his time. His compositions 
 abound with novel combinations, double stops, harmonics, and 
 arpeggios are displayed with wonderful results. Burney says 
 that ' ' Locatelli had more hand, caprice, and fancy than any 
 
1 3 8 THE VIOLIN. 
 
 Violinist of his time. " He was a voluminous writer of Caprices 
 and Sonatas. His "Art de Nuovo Modulazione " is probably 
 his greatest work. 
 
 The immediate follower of the style of Locatelli was Lofli, 
 born 1728, who wrote pleasing airs and used novel effects, but 
 failed to go further. It was one of his feats to play on one 
 string, a performance very properly held in contempt in our day, 
 as it has neither sense nor grace to recommend it. Probably 
 Lolli was the first to offer this bait to the public in order to 
 catch their money. 
 
 Felice Giardini was another musician of the style of 
 Locatelli.* He was. born at Turin, in the year 1716. His per- 
 formance at Naples and Berlin excited considerable notice. 
 In 1742 he visited England, and created some sensation, his 
 style being new to the British public. 
 
 Mestrino was also a follower of Locatelli. His composi- 
 tions consist chiefly of concertos. 
 
 The writings of Bruni stand forth as compositions of an 
 original character, and mark the progress attained by the Violin 
 music of this date. His trios are very bright and pleasing, and 
 his writings for the Viola are among the best that we have for 
 that instrument. He was born at Piedmont, in the year 1759. 
 
 Boccherini, probably, did more towards furthering the 
 cultivation of stringed instrument music than any composer of 
 his day, with the exception of Haydn. There are in his com- 
 positions, movements of varied styles well written for their 
 respective instruments. His quintetts are among his chief 
 productions, and their elegance and brilliancy is remarkable. 
 The part allotted to his own instrument, the Violoncello, often 
 bristles with difficulties, and hence it is that these compositions 
 are so seldom heard. Boccherini was the first composer that 
 wrote quintetts with two Violoncello parts. 
 
 We now reach a stage in the history of the progress of the 
 Violin, the importance of which cannot be over-estimated ; I 
 refer to the influence which the compositions of Giovanni 
 Battista Viotti exerted upon the cultivation of our instrument. 
 With the famous Viotti sprang up a school of Violin playing as 
 marked in style as that introduced by Corelli. Viotti was a 
 pupil of Pugnani, and owed his success to the rare teaching of 
 that master. Pugnani possessed an imagination of no ordinary 
 kind, and Viotti, having imbibed much of his instructor's vein, 
 has made the most of it in his compositions. The sensation 
 that Viotti created in Paris was great. His varied style, his 
 rich tone, and elegance in playing, were far beyond anything 
 that the Parisian public had previously experienced. With 
 Viotti was ushered in a new era in solo playing. His concertos 
 
 * In " Les Maitres Classiques," collected by M. Alard, and the " Hohe Schule," 
 collected by Ferdinand David, will be found some of the best examples of this 
 composer, as well as of many others noticed here. 
 
SKETCH OF ITS PROGRESS. 139 
 
 exhibit the capabilities of the instrument in elegantly con- 
 structed passages, such as none but a master of the Violin could 
 pen. He wrote upwards of 20 Concertos. Those in A minor, 
 in G, in D, and in E minor being the favourites, and, to this 
 day, highly esteemed by Violinists of every school. His duos 
 and trios are pleasing and effective, and, though long since 
 superseded by works of greater erudition, they form a land- 
 mark in the history of the progress of the instrument. 
 
 Campagnoli, born in 1751, was a composer of rare ability. 
 Had he written nothing but the Studies on the Seven Positions 
 of the Violin he would have left enough to mark the character 
 of his genius. Happily, he has bequeathed to us many other 
 writings. His "Fantasias and Cadences," forming a book of 
 upwards of 100 pages, is a work full of interest to the Violinist. 
 His modulations are singularly effective. He has also written 
 some studies for the Viola, and, lastly, a "Violin school." I 
 cannot but think that Campagnoli's educational compositions 
 have not received the attention which they merit, and that they 
 are laid aside as being old-fashioned. There is, I grant, a certain 
 quaintness in his writings, but this much may be said of many 
 other compositions whose beauties are not neglected on that 
 account. It would be difficult to find material more solid than 
 that afforded by the writings of Campagnoli, if the foundation 
 of Violin playing of the highest character is to be laid. 
 
 We reach the pinnacle of the Italian school of Violin 
 playing in the wondrous Paganini, born the iSth February, 
 1784, died May 27th, 1840. It is needless to recount the extra- 
 ordinary achievements of this remarkable man. M. Fdtis and 
 others have collected the most interesting particulars relative 
 to Paganini and his compositions, and to their entertaining 
 accounts the reader can turn for information. It is sufficient to 
 mention that Paganini carried the marvellous in Violin playing 
 as far as seems possible. The number of his imitators has been 
 enormous, and many of them, withal, so barbarous as to render 
 anything savouring of "a la Paganini" contemptible. The 
 compositions of Paganini are no longer Paganini's when played 
 by others. He, above all Violinists that ever lived, possessed 
 an individuality in his style of playing which has hitherto defied 
 decent imitation. 
 
 From Paganini to his pupil, Camilla Sivori, is the next step 
 in my notice. The artistic career of Sivori has been a glorious 
 one. Elegance of style and charming purity of tone are qual- 
 ities peculiarly his. 
 
 Antonio Bazzini both as a solo Violinist and composer for 
 the instrument has achieved lasting fame. 
 
 Having endeavoured to lightly sketch the history of Italian 
 performers, and of Italian music bearing on the instrument, to 
 the present time, it remains to notice a remarkable follower of 
 the Italian school of Violin playing in the Norwegian, Ole 
 
jjo THE VIOLIN. 
 
 Bornemann Bull. The executive skill of this famous Violinist 
 was of the highest order, and perhaps no other artist, with the 
 exception of Paganini, gained such a world-wide renown. 
 
 It is now necessary to refer to the course of events touching 
 the Violin in France. As the influence of Viotti resulted in a 
 remodelling of the French style of playing, our survey will 
 make it necessary to go back the greater part of a century, and 
 to take up the point where we parted company with Lully. 
 
 Jean Marie Lecler, the pupil of Somis, is here the first 
 Violinist deserving of mention. He was born at Lyons in 1697. 
 In 1729 he visited Paris, where he was engaged at the opera. 
 Lecler was the originator of the school of French Violin play- 
 ing. He wrote several sonatas for two Violins and Bass, besides 
 other compositions. The difficulties occurring in many of these 
 writings are of no ordinary character, and if they were rendered 
 with anything approaching to exactness the progress made on 
 the Violin must have been very rapid between the days of Lully 
 and Lecler. 
 
 Pierre Gavinies claims attention both as an executant and 
 composer. There is a freshness about his compositions which 
 has caused many of them to be recently roused from their long 
 sleep, and re-issued in the improved garb of a modern edition. 
 His best known works are the 24 Studies, Concertos, and 
 Sonatas. 
 
 Although there were several Violinists in France of average 
 abilities between the time of Gavinies and that of Rode, they 
 scarcely claim attention in this somewhat hasty sketch ; and I 
 will therefore pass to the players linked with Viotti. To 
 commence with Rode, the pupil of Viotti. He was born at 
 Bordeaux in 1774. Fetis remarks "from Corelli to Rode there 
 is no hiatus in the school, for Corelli was the master of Somis, 
 Somis of Pugnani, Pugnani of Miotti, and Viotti of Rode." 
 
 His well-known 24 caprices, and his concertos, and airs, 
 are much admired by all Violinists for their elegance and effect- 
 iveness. Paganini played the concertos of Rode publicly upon 
 several occasions. Bailliot and Kreutzer were associated with 
 Rode at the French Conservatory of Music, and likewise in 
 the compilation of the well-known Instruction Book written 
 expressly for the use of the pupils at the Conservatory. Bailliot 
 was famed for his admirable bowing and refined playing. 
 Kreutzer is, of course, better known from his 40 Studies than 
 from anything else that he has written. His concertos partake 
 more of the study than the name they bear, and are valued 
 accordingly. 
 
 Lafont was instructed by both Rode and Kreutzer, and 
 held a high position among the Violinists of his time. 
 
 Francis Antoine Habeneck was a pupil of Bailliot at the 
 Paris Academy of Music, where tie distinguished himself, 
 and became a professor. Among his pupils were Tolbecque, 
 
SKETCH OF ITS PROGRESS. 141 
 
 Cavillon, Alard, and Sainton. Few professors have had the 
 pleasurable task of instructing such a goodly Quartett. M. Alard 
 occupies one of the chief positions as a professor in Paris, and 
 possesses a high reputation as a composer for his instrument. 
 M. Sainton settled in London in 1845, shortly after which he 
 became principal professor of the Violin at the Royal Academy 
 of Music, and leader under M. Costa, a position which he still 
 retains. He has written several effective Fantasias. 
 
 It now remains for me to notice the Belgian branch of the 
 French school, which may be said to have commenced with 
 Charles de Beriot, one of the most delicious players we have 
 had. As a composer for his instrument, he opened up entirely 
 fresh ground ; he banished all that was dry, and gave us those 
 fresh and pleasant Airs varies and Morceaux de salon, teeming 
 with novel effects. It can never be said that De Beriot alarmed 
 the amateur with outrageous difficulties ; on the contrary, he 
 gave them passages easy to execute, full of effect, and yet withal 
 astonishing to the listener. De Beriot has probably made more 
 amateur Violinists than any composer of his time. 
 
 In Henri Vieuxtemps we have a thorough master of his art. 
 His Concertos are compositions worthy of the title they bear ; 
 they do not consist of a number of difficulties strung together 
 without meaning, but are properly constructed works. He has 
 written many Fantasias, all of which are the delight of good 
 Violinists. His compositions being most difficult to render, 
 they are chiefly known among artists, but in these days of rapid 
 development in Violin playing among amateurs, a new and 
 wide field will certainly be opened for them ere long. 
 
 From Belgium to Poland may appear a wide step in my 
 discourse, but it is not so. Although the Polish Violinists 
 retain a certain amount of originality in style of playing and 
 in their compositions, it is to the French school they belong. 
 Lipinski, Wieniawski, Lotto, were all educated in the Paris 
 school. 
 
 Lipinski has written a good deal for his instrument, and 
 instructed many well-known players. 
 
 Wieniawski and Lotto have both gained high positions 
 among the soloists of our time. 
 
 Adolphe Pollitzer settled in London many years since, and 
 occupies a leading position among our resident Violinists. 
 
 Having lightly touched upon the various heads of the 
 French school, I must again take up the thread of the English 
 history of the instrument from about 1750, at which period we 
 may trace a growing admiration for Violin playing, notwith- 
 standing the disparagement which this accomplishment received 
 from different notabilities. Foremost among the revilers stands 
 Lord Chesterfield, who considered playing upon any musical 
 instrument to be illiberal in a gentleman. The Violin would 
 seem to have been regarded by his lordship with a supreme 
 
i4i THE VIOLIN. 
 
 amount of displeasure. His opinion of Violinists savoured 
 greatly of that held by the framers of the statute passed in the 
 reign of Elizabeth touching minstrels, who were to be included 
 among "rogues, vagabonds, and sturdy beggars" when 
 wandering abroad. Lord Chesterfield says, " Music is usually 
 reckoned one of the liberal arts, and not unjustly, but a man of 
 fashion who is seen piping or fiddling at a concert degrades his 
 own dignity. If you love music, hear it ; pay Fiddlers to play 
 for you, but never Fiddle yourself.'' 1 Such was Lord Chester- 
 field's advice to his son. It is quite evident that he had no 
 notion of the exquisite enjoyment derivable from being an 
 executant in a quartett, the conversational powers of which 
 have been so frequently noticed. That Lord Chesterfield's 
 strictures discouraged the practice of the Violin in the higher 
 circles of society is very probable, appearing as they do in a 
 work which was held in the light of a text-book upon the 
 conduct of a gentleman for some considerable time. Happily, 
 the hollowness of much of his advice came to be recognised, 
 and he who deemed cards and dice a necessary step towards 
 fashionable perfection, and ordained that Fiddlers were to be 
 paid to play for you as substitutes for your own personal degra- 
 dation, came to be remembered, possibly, more on account of 
 the laxity of his precepts than for any other reason. 
 
 In the days of Lord Chesterfield lived Michael Christian 
 Festing, who was particularly zealous in the cause of music. 
 He was a pupil of Geminiani, and wrote several solos. Festing 
 still further carried out the idea of Britton the ' 'small-coal man, ' ' 
 by bringing together a number of noblemen and gentlemen 
 amateurs for the practice of concerted music. They met at the 
 "Crown and Anchor" tavern in the Strand, and named their 
 society the "Philharmonic." So much for his furtherance of 
 the art. It now remains to notice the great boon which Festing 
 conferred upon his brother professors and their descendants. 
 It is this which has given his memory lasting life in the annals 
 of English music. 
 
 We are indebted to Festing as the chief instrument for the 
 formation of the Royal Society of Musicians, which he may be 
 said to have founded in the year 1738. This society derived its 
 origin from the following curious circumstance. Festing being 
 one day seated at the window of the Orange Coffee House, then 
 at the corner of the Haymarket, observed a very intelligent 
 looking boy, who was driving an ass and selling brickdust. 
 The lad was in a deplorable condition, and excited the pity of 
 the kind-hearted musician, who made enquiries concerning 
 him, and discovered that he was the son of an unfortunate 
 professor of music. Struck with grief and mortification that 
 the forlorn object before him should be the child of a brother 
 musician, Festing resolved to attempt something for the boy's 
 maintenance. Shortlyafter, with the help of other benevolently- 
 
SKETCH OF ITS PROGRESS. 143 
 
 disposed persons, lie raised a fund for the support of decayed 
 musicians and their families, and thus laid the foundation of the 
 society, which is the first of its kind in Europe. Handel was 
 one of its first and principal members, and left it a legacy of 
 ^"1,000. Little did Festing and his supporters dream that their 
 society, humble enough in 1738, would grow into a society 
 possessing _^~8o,ooo in 1874, a sum which, however high sound- 
 ing, is yet insufficient to permit the committee to dispense the 
 full amount of good desired. 
 
 Returning again to our subject, we find that in Festing's 
 life-time there were several patrons of the art, the chief of 
 whom was the Prince of Wales, the Duke of Cumberland, and 
 Earl Mornington. We may now glance at the period when 
 Salomon came to England, in 1781. Too much stress can 
 scarcely be laid upon the good effected by Salomon's talents 
 for the progress of music, and more particularly in behalf of 
 instrumental music. We are everlastingly indebted to this 
 musician for the spirit and enterprise which he displayed, in 
 bringing to England, at no trifling pecuniary risk, the immortal 
 Haydn. Salomon having established a series of twenty concerts 
 in the year, it occurred to him that to invite the famous musician 
 to London, would aid his enterprise. He communicated with 
 Haydn offering him fifty pounds for each concert. These terms 
 were accepted, and Haydn set out for London in the year 1790, 
 at the age of fifty-nine. He remained in England over a year, 
 and composed the celebrated "Twelve Symphonies" known 
 as the Salomon set. Salomon was one of the promoters of the 
 Philharmonic Society, and led the orchestra at the first concert 
 given by the Society in 1813. Enough has been said to show 
 the nature of the part he took in the development of music in 
 England. Enjoying the friendship of those who moved in the 
 higher circles of society, where his polished manners and high 
 attainments ever made him a welcome guest, he was enabled 
 to command such patronage as to make his laudable ventures 
 successful. 
 
 Among the violinists of Salomon's day, resident in England, 
 were William and Francis Cramer, to whom severally was 
 assigned the leadership of the Ancient Concerts and of the 
 Opera. 
 
 The next Violinist who gained some celebrity was Nicholas 
 Mori, born in London in the year 1796. He was associated with 
 the formation of the Royal Academy of Music, in Tenderden 
 Street, and became the principal instructor on the Violin at that 
 Institution. Spagnoletti and Kieswetter each contributed their 
 share towards the advancement of the instrument during their 
 stay in this country. The names of Dando and Henry Blagrove 
 bring us to the players of our own time ; these thoroughly rep- 
 resentative English Violinists have done much to raise the 
 standard of the public taste. It is said that Mr. Dando gave 
 
144 THE VIOLIN. 
 
 the first public quartett concert in this country, which took 
 place in 1835 ; from which circumstance we may glean some 
 idea of the rapid strides we have made in the appreciation of 
 chamber music during the past forty years. The work so well 
 commenced by Mr. Dando, was made complete, artistically 
 speaking, by the formation of the Musical Union. The long 
 roll of celebrated continental artistes introduced at the Society's 
 concerts sufficiently stamps its character. All that remained 
 to be done was to make the quartett popular, and to bring it 
 within the reach of all. This has been achieved by the indefat- 
 igable labours of Mr. Chappell in his Monday Popular Concerts. 
 For some time the public failed to appreciate Mr. ChappelPs 
 scheme, but the enterprising director, nothing daunted, con- 
 tinued his course, and has now the gratification of being besieged 
 in his citadel at St. Jame's Hall, from the commencement of the 
 season to its close. 
 
 Before closing our remarks on the progress of Violin play- 
 ing in England, we have still to mention a few other names in 
 connection with this subject. Henry C. Cooper is a Violinist 
 who takes rank with the chief representatives of the English 
 Soloists, and during a long professional career has achieved 
 much success. He set on foot, together with his coadjutors, 
 M. Sainton, Hill, and Signor Piatti, the Quartett Association, 
 the concerts of which were given at Willis's Rooms during 
 several seasons. The career of Mr. John Carrodus, has been 
 watched by his brother artistes with much interest. As a pupil 
 of Herr Molique, he gave early signs of exceptional talents ; 
 it was felt that he must inevitably come to the front ; all that 
 was predicted, and even more, has come to pass. He now 
 has a commanding position among the foremost Violinists of 
 our time, both as a soloist and leader. With the names of 
 Messrs. Henry and Alfred Holmes, I come to the close of the 
 English branch of the subject. The brothers Holmes attracted 
 the notice of Spohr, who was so delighted with their abilities 
 that he composed and dedicated three Duets for two Violins to 
 them. Mr. Henry Holmes settled in London some years since, 
 and has been successful both as a player and a composer. 
 
 I have not found it convenient to refer to the German school 
 of Violin-playing previous to this, on account of its distinctive 
 character. The Italian school passed into France with Viotti ; 
 indeed, there was even an earlier connection between Italy and 
 France in this respect, through Lully. The Italian school was 
 also linked with the English through Geminiani and Giardini ; 
 but of the German school it may be said that its individuality 
 is so marked as to necessitate its being considered apart. 
 
 That the Germans are indebted to the Italians for their 
 early acquaintance with music is, I imagine, conceded on all 
 sides ; but it is only in the earliest stage of the art that any such 
 indebtedness can be said to exist, as they soon struck out a 
 
SKETCH OF ITS PROGRESS. 145 
 
 course abounding in originality. The first name of any note in 
 connection with the Violin in Germany is that of Graun, who 
 was born in the year 1700. He became concert master to the 
 King of Prussia, and excelled as a Violinist. His pupil, Francis 
 Benda, next claims attention. Dr. Burney says of him: "His 
 manner was neither that of fartini, nor of Veracini, nor that of 
 any other leader, it was purely his own, though founded on the 
 several models of the greatest masters;" and Hiller tells us 
 that " his tones were of the finest description, the clearest and 
 most euphonius that can be imagined." These remarks point 
 to the statement that I have made above of the early distinctive 
 character of German Violin playing. Benda published studies 
 for his instrument, and also several solos and other works, all 
 of which are admired for their good taste and cantabile style. 
 
 About this period appeared the admirable compositions for 
 the Violin of that great master of his art, John Sebastian Bach 
 works differing essentially from those of his contemporaries. 
 
 " He was not of an age, but for all time." 
 
 To describe the character and beauties of Bach's Violin 
 writings belongs only to the deeply learned in the science of 
 music. To enter upon so critical a subject is neither within my 
 province nor capacity. As an amateur Violinist an an observer 
 of all that relates to the Violin, I may refer, however, to the 
 vast amount of good which the compositions of Bach have 
 exercised upon the cultivation of Violin placing, and the marvel- 
 lous development that they have received at the hands of many 
 of our leading Violinists. To this happy state of things we are 
 largely indebted to the incomparable Herr Joachim ; but for 
 him these treasures might have remained hidden behind a cloud 
 of airs varies, fantasias, and what not, for many a year to come. 
 Herr Joachim has made the Sonatas of Bach familiar to thou- 
 sands who a few years since scarcely knew of their existence. 
 The difficulties which abound in these solid writings could only 
 have been written by a master perfectly acquainted with the 
 capabilities of the instrument. Many a tyro who plunges into 
 the stream of Bach's crotchets and quavers soor finds himself 
 encompassed by a whirlpool of seeming impossi, ilities, and is 
 frequently heard to exclaim that the passages are impracticable. 
 Vain delusion ! Bach was himself a violinist, and never penned 
 a passage the rendering of which is impossible. The ease and 
 grace with which a Joachim makes every note heard and felt, 
 induces many a one to wrestle v/ith Bach, the more so when it 
 is found that the great author has confined himself to the lower 
 positions of the instrument. Vain delusion number two! Bach 
 exacts more on terra firma than many later writers have claimed 
 in their wildest aerial flights. 
 
 From Bach to Handel is an easy step in our discourse. 
 They were born within a year of each other, and were possessed 
 
j 4 6 THE VIOLIN. 
 
 of minds of similar calibre, though differently exercised. It 
 would not, perhaps, be over-strained to call them respectively 
 the Nelson and Wellington of music. It is curious, too, that 
 like those heroes of war, these harbingers of peace, it has been 
 said, met but once, an event which Dr. Burney mentions as 
 having occurred at Salzburg, where, on their going together to 
 the Cathedral, they found it so full that they could scarcely get 
 to the organ-loft; and when one of them opened the organ it 
 was not possible for more persons to crawl into the church. 
 Those, however, who could not gain admission into the interior 
 of the building procured ladders and placed them at the windows 
 in order to gratify their ears. 
 
 The compositions of Handel materially advanced the Violin. 
 His Overtures, Trios, Sonatas, and ConcertoJ, were all received 
 with the utmost attention, and led on to works by later compo- 
 sers, which would probably never have existed but for Handel's 
 example. Stamitz, who introduced the modern form of Over- 
 ture, was a Violinist, and also played on the Violoncello and 
 Tenor. 
 
 We now reach the time when the Symphony was perfected 
 by Haydn, who, following the steps of Bach, brought this branch 
 of the art to a degree of perfection hitherto unknown, and 
 ultimately formed a model scarcely equalled. The influence 
 of this composer on the progress of the Violin cannot be over- 
 estimated. The quartetts of Haydn are too well known to 
 need more than mention here. The Quartetts of Giardini and 
 Pugnani were laid aside to give place to these inspired compo- 
 sitions. The following amusing comparison drawn by a lady 
 between the quartetts of Haydn dnd the speech of articulate 
 humanity appears in Bombet's "Letters on Haydn, "and though 
 pretty well-known will lose nothing by repetition : 
 
 "In listening to the quartetts of Haydn, this lady felt as 
 if present at a conversation of four agreeable persons. She 
 thought that the first Violin had the air of an eloquent man 
 of genius, of middle age, who supported a conversation, the 
 subject of which he had suggested. In the second Violin she 
 recognised a friend of the first, who sought by all possible 
 means to display him to advantage, seldom thought of himself, 
 and kept up the conversation, rather by assenting to what was 
 said by the others than by advancing any ideas of his own. 
 The Alto was a grave, learned, and sententious man. He 
 supported the discourse of the first Violin by laconic maxims, 
 striking for their truth. The Bass was a worthy old lady, rather 
 inclined to chatter, who said nothing of much consequence, and 
 while she was talking the other interlocutors had time to breathe. 
 It was, however, evident that she had a secret inclination for 
 the Alto, which she preferred to the other instruments." 
 
 It may be said that the foregoing extract is more funny than 
 just. Probably this is the case ; however, I make use of it as 
 
SKETCH OF ITS PROGRESS. i 47 
 
 throwing some light on the enjoyment derivable from listening 
 to a quartett, without reference to its critical bearings. 
 
 Resuming our subject again : Haydn wrote eight easy 
 Sonatas for Violin and Pianoforte, but they are not of sufficient 
 importance to cause them to be much played. Haydn used 
 frequently to take the Tenor part in his quartetts. 
 
 Leopold Mozart, born in 1719, the father of the illustrious 
 musician, was a Violinist, and wrote a "Method " for his instru- 
 ment. He died in 1787. 
 
 To the great Mozart, Violinists owe much ; his compositions 
 for the instrument raised it considerably. It is unnecessary to 
 give here a detailed list of his writings in which the Violin takes 
 part they are happily known to'most players. Mozart played 
 the Violin from boyhood, and was taught by his father. It is 
 gratifying to know that nearly all the great composers played 
 upon stringed instruments, if not with proficiency, yet enough 
 to enable them to make pleasurable use of their acquirements. 
 Sebastian Bach, Handel, and Mozart were Violin players ; 
 Haydn and Mendelssohn could take their Tenor part in a 
 quartett, and lastly Beethoven used to amuse himself with the 
 Double-Bass. Their compositions evidence a practical knowl- 
 edge of stringed instruments as distinct from theory. The 
 glorious compositions of Beethoven for the Violin need no 
 comment here ; their beauties have formed the theme of the 
 ablest critics, and I have no desire to contribute my humble 
 mite to their exhaustive remarks. 
 
 With Fesca we again come among the Violinists. He was 
 born at Magdeburg, in 1789. His quartetts are very pleasing 
 compositions ; they are chiefly solo quartetts. 
 
 The next Violinist claiming attention is the highly gifted 
 Louis Spohr, the greatest composer for the Violin that ever 
 lived who combined in his own person high executive powers 
 with a rare fecundity of classical composition. The concertos 
 of Spohr belong entirely to a different class from those of Viotti, 
 Kreutzer, and others, inasmuch as Spohr's music is not merely 
 written to display the beauties of the instrument, but also to 
 give the noblest specimens of its orchestration. His duos for 
 two Violins, his Tenor and Violin duo and quartetts, are all too 
 well known to need more than passing mention. 
 
 From Spohr has grown up a school of Violin playing of a 
 very distinctive character. Bernard Molique was endowed with 
 great p.wers both as a performer and a composer for his instru- 
 ment. His concertos are compositions of the highest order, 
 and require for their rendering a finished artist. 
 
 Joseph Mayseder was a Violinist of a different order to that 
 of Spohr or Molique. His style was exceedingly brilliant ; and 
 in writing Polonaises for his instrument he probably has not 
 been equalled. 
 
 Mayseder may also be said to have created a school of his 
 
ij8 THE VIOLIN. 
 
 own, and owing to the circulation that his compositions obtained 
 in England, his style was introduced among a great number of 
 our countrymen. 
 
 Kalliwoda wrote and played very much in the Mayseder 
 manner. His airs and variations are especially brilliant compo- 
 sitions ; his overtures are also much admired for their sparkling 
 and dramatic character. 
 
 I come now to notice one of the greatest artists of our time 
 Herr Ernst whose playing was impassioned in the highest 
 degree. He made the Violin express his innermost thoughts 
 in tones of such delicious tenderness as his hearers can never 
 forget. By nature noble, generous and affectionate ; the shade 
 and substance of each trait was faithfully reflected in his 
 exquisite playing. His compositions are among the finest solo 
 writings we have. To mention his ' ' Otello, ' ' ' 'Airs Hongrois, ' ' 
 "Le Prophete," and his "Studies," will be sufficient to call 
 to the mind of most Violinists the high character of his com- 
 positions. 
 
 It now only remains for me to briefly allude to the German 
 artists each Concert Season makes us familiar with. First and 
 foremost is the mighty Herr Joachim, a host in himself. His 
 able coadjutor Herr Strauss is justly admired for his intellectual 
 rendering of the works of the great masters, and the artistic 
 spirit he invariably displays. Herr Wilhelmj is regarded as one 
 of the first players of our time, his executive powers being of 
 the highest order. 
 
SECTION XV. 
 
 ANECDOTES AND MISCELLANEA CONNECTED WITH 
 THE VIOLIN. 
 
 THE MISSING SCROLL. 
 
 rhas often happened that portions of valuable instruments 
 detached from the original whole have been once more 
 recovered and reinstated in their proper place. The 
 following is an amusing instance of this. 
 
 A well-known amateur, belonging to the generation now 
 fast passing away, was the fortunate possessor of a Stradiuarius 
 Violin, which he had occasion to take to the Fiddle doctor for 
 an operation quite unknown to the students of the Royal College 
 of Surgeons, but well understood by the members of the frater- 
 nity to which I have the honour to belong, namely, decapitation. 
 This, in the Fiddle language, means the removal of the old neck 
 and the splicing of a brand new one in its place. It is an oper- 
 ation wholly unattended with the horrors of human surgery. 
 Again and again a time was appointed for the completion of this 
 delicate insertion, but in vain, it was a case of hope deferred. 
 The owner of the Stradiuarius becoming wearied with this state 
 of things, determined to carry off his cherished instrument in 
 its dismembered condition. Placing the several portions in 
 paper, he left the Fiddle doctor's establishment, considerably 
 annoyed and excited. Upon reaching home his recent ebullition 
 of temper had entirely passed away, and he calmly set himself 
 to open the parcel containing his dissected "Strad," when, to 
 his utter dismay, he failed to find its scroll. The anguish he 
 suffered may be readily conceived by the lover of Fiddles. 
 Away he started in search of his Fiddle's head, dead to all 
 around him but the sense of his loss ; he demanded of every- 
 one he met whether they had by chance picked up the head of 
 a Fiddle. The answers were all in the negative ; and many 
 were the looks of astonishment caused by the strange nature of 
 the question and the bewildered appearance of the questioner. 
 At length he arrived at the house of the Fiddle doctor, whose 
 want of punctuality had brought about the misfortune. Here 
 was his forlorn hope ! He might possibly have forgotten to put 
 the scroll into the parcel. His doubts were soon set at rest ; 
 the scroll had been taken with the other parts of the instrument. 
 Completely overcome with sorrow and vexation, he knew not 
 how to endeavour to recover his loss. He ultimately decided 
 
 (149) 
 
j 5 o THE VIOLIN. 
 
 to offer a reward of five pounds, and to await the result as 
 contentedly as he could. 
 
 A few hours after the dejected owner of the Violin had left 
 the shop of the Fiddle-doctor, an old woman, the keeper of an 
 apple-stall in the neighbourhood, entered and offered for sale a 
 Fiddle's head. The healer of Violins, taking it into his hands, 
 was agreeably astonished to recognise in it the missing head- 
 piece, and eagerly demanded of the seller whence she had 
 obtained it, and what might be its price. " Picked it up in the 
 gutter," she answered ; and two shillings was the modest value 
 she set upon her find. Without a moment's hesitation the 
 money was handed to the vendor of Ribston pippins, and away 
 she trudged in high glee at the result of her good luck. The 
 Fiddle /Esculapius, equally gleeful at the course of events, 
 resolved to avail himself of the opportunity afforded him of 
 gratifying a little harmless revenge upon the fidgety amateur's 
 haste in removing the " Strad " before the alterations had been 
 completed. He therefore determined to keep the fact of the 
 discovery to himself for a short time. Advertisements multi- 
 plied, and the reward rapidly rose to twenty guineas. Having 
 satisfied his revengeful feelings, the repairer duly made known 
 the discovery of the missing scroll, to the intense gratification 
 of its owner. Finally, the repairer refused to accept any por- 
 tion of the reward upon one condition, viz., that he was allowed 
 to complete his work a condition readily conceded. 
 
 ANOTHER WANDERING SCROLL. 
 
 Among the collection of valuable Violins belonging to the 
 late James Coding, Esq., was a Stradiuarius dated 1710, which 
 had been deprived of its original scroll, and bore a supposititious 
 figure-head by David Techier, owing to a piece of vandalism 
 perpetrated by an eccentric amateur. The original scroll had 
 found its way to an Italian Violin of some merit, the value of 
 which was considerably enhanced by the newly acquired head- 
 piece, which gave to the whole instrument an air of importance 
 to which it could lay no claim till it carried on its shoulders a 
 head belonging to the aristocracy of Fiddles. During a period 
 of about twenty years this mongrel Fiddle became the property 
 of as many owners, and ultimately fell into my hands. Leaving 
 this instrument, we will follow the history of the Stradiuarius, 
 date 1710. At the dispersion of Mr. Coding's collection by 
 Messrs. Christie and Manson, in the year 1856, a widely-known 
 amateur purchased the Violin for the sum of eighty pounds, the 
 loss of its scroll preventing the realisation of a higher figure. 
 Sixteen years after this event the purchaser applied to me for a 
 Stradiuarius scroll that he might make his instrument complete. 
 The mongrel Violin described above being in my possession, 
 decapitation was duly performed and the Stradiuarius received 
 
JOSEPH GUARNBRIUS. 
 
 STRAIMUARIUS, if. 
 
 STRADIUARIUS, 1709. 
 
 NICHOLAS AMATI. 
 
ANECDOTES. 151 
 
 its head again. Here was a fortuitous course of circumstances ! 
 This exchange of heads took place without my being at all aware 
 that the "Strad" scroll had returned to its original body ; but 
 on my mentioning the circumstance to my father, he informed 
 me to my astonishment and delight that if the head of the 
 mongrel Fiddle had been placed on the Stradiuarius, date 1710, 
 from the Coding collection, it was now, as the effect of recent 
 transmigration, on its own legitimate body ! 
 
 A MONTAGNANA INSTRUMENT SHOT THROUGH THE BODY IN 
 THE REVOLUTION OF 1848. 
 
 An enthusiastic amateur was playing the Violin in a house 
 in one of the leading thoroughfares in Paris at the outbreak of 
 the Revolution in 1848. His ardour was so great that the can- 
 nonading failed to interrupt him in his pleasurable pursuit ; he 
 fiddled on, regardless of all about him, like Nero while his 
 capital was in flames, and even left the window of his apart- 
 ment open. Presently a whizzing noise, terminating in a thud 
 above his head, arrested his attention. Upon his looking up 
 he saw the mark of a bullet in the ceiling. Aroused to a sense 
 of his danger, he closed the windows. Being about to put his 
 Montagnana into its case, his astonishment may be imagined, 
 when he discovered a hole through the upper side and a cor- 
 responding chink in the belly, both as sharply cut as though a 
 centre-bit had done the work. His Violin bore witness to his 
 miraculous escape ; the bullet lodged in the ceiling had'taken 
 his Montagnana in its course. The instrument referred to in 
 this anecdote has been in my possession more than once. 
 
 FIDDLE MARKS AND THE CREDULOUS DABBLERS. 
 
 It is said a drowning man will catch at a straw ; the truth 
 of the remark applies to the half-informed in Fiddle connois- 
 seurship. It is very amusing to note the pile of nothings that 
 these persons heap up under the name of "guiding points " in 
 relation to Fiddles. I will endeavour to call to mind a few of 
 these. I will begin with those little pegs seen on the back of 
 Violins near the button, and at the bottom ; the position of 
 these airy nothings without habitation or name, "is deemed 
 indisputable evidence of certain makers' handicraft." One is 
 supposed to have put his pegs to the right, another to the left ; 
 another used three, four and so on. I have frequently heard 
 this remark "Oh it cannot be a Stradiuarius, because the pegs 
 are wrong !" 
 
 The purfling also forms an important item in the wiseacres' 
 collection of landmarks ; certain makers are supposed to have 
 invariably used one kind of purfling, no variation being allowed 
 for width or material adopted. Original instruments are pro- 
 
I 5 2 THE VIOLIN. 
 
 nounced spurious, and spurious original, by this test. All 
 Fiddles purfled with whalebone are dubbed "Jacobs," and no 
 other maker is credited with using such purfling. 
 
 The back of a Violin is another very important item with 
 these individuals. Particular makers are supposed to have 
 only made whole backs, others double backs, others again are 
 thought to be known only by the markings of the wood. There 
 is another crotchet to be mentioned. Some will tell you they 
 will inform you who made your Violin by taking the belly off, and 
 examining the shape of the blocks and linings. Rest assured 
 if the maker cannot be seen outside, he will never reveal him- 
 self in the inner consciousness of a Fiddle. Measurement is 
 another certain guiding point with these dabblers ; the measur- 
 ing tape is produced and the instrument condemned if it does 
 not tally with their erroneous theory. 
 
 A STOLEN "STRAD." 
 
 It has often been remarked that to steal a valuable Violin 
 is as hazardous as to steal a child ; its identity is equally impreg- 
 nable, in fact, cannot be disguised, save at the price of entire 
 demolition. To use a paradox, Violins, like people, are all 
 alike, yet none are alike. The indelible personality of the best 
 Violins has been a powerful agent in the cause of morality, and 
 has deterred many from attempting to steal them. We have, 
 however, instances of undiscovered robberies of valuable instru- 
 ments, and notably that of the fine Stradiuarius which belonged 
 to a well-known amateur, an attach^ at the British Embassy at 
 St. Petersburg. The Violin in question was numbered with the 
 Plowden collection. I disposed of it to the amateur above 
 mentioned in 1868, for the sum of ^"350; it was a magnificent 
 Violin, date 1709, in the highest state of preservation, and would 
 realize at this moment upwards of five hundred guineas. In 
 the year 1869 the owner of it was appointed to the embassy at 
 St. Petersburg, and removed thither. He was a passionate 
 lover of the Violin, and an excellent player. One evening he 
 was playing at a musical party. After he had finished he placed 
 his "Strad" in its case as usual, which he closed, without lock- 
 ing it. The next day he was amusing himself with a parrot, 
 which bit him on the lip ; the wound appeared very unim- 
 portant, but exposure to the cold brought on malignant abscess, 
 and he sank and died. In due course his representatives arrived 
 at St. Petersburg, and took charge of his property, which was 
 brought to England. Some twelve months afterwards a relative 
 who took much interest in valuable Violins, was visiting the 
 family of the deceased gentleman, and asked to be allowed 
 to see the Stradiuarius, 1709. The case was sent for and 
 duly opened. When the Violin was handed to the visitor he 
 remarked there must be some mistake, and suggested that the 
 
ANECDOTES. 153 
 
 wrong case had been brought, the instrument he held having 
 no resemblance whatever to the Stradiuarius, not being worth 
 a sovereign. Enquiries were set on foot, and it was satisfacto- 
 rily proved that the case had never been opened since it had 
 been brought to England ; neither had it left the custody of the 
 late owner's nearest relative, who had kept it secured in a chest. 
 The next day after the occurrence of the event related above, 
 I was communicated with, and asked if I could recognise the 
 Stradiuarius in question. It is unnecessary to record my answer. 
 I might with an equivalent amount of reason have been asked if 
 I should know my own child. The double case was formally 
 opened and the Violin described above was taken out. ' ' Is that 
 the Stradiuarius?" I scarcely knew, for the moment, whether 
 my interrogator was in earnest, so ridiculous was the question. 
 It remains only to be said that the Russian authorities were 
 memorialised and furnished by me with a full description of the 
 instrument ; but to this moment its whereabouts has never been 
 discovered. 
 
 QUICK RECOVERY OF A STOLEN TENOR. 
 
 Many years since a young man brought to us a Tenor, 
 which he offered for five pounds, saying that his father had sent 
 him to dispose of it, as he was in straitened circumstances. 
 The instrument was a very fine Nicholas Amati, and well known 
 to us as the property of a near neighbour in the same business 
 as ourselves. The would-be seller was questioned, and, his 
 answers being anything but satisfactory, we detained him while 
 our neighbour was communicated with. The case in which the 
 Viola was kept in its lawful home was opened and was found to 
 be empty. The Amati was received by the owner with much 
 delight, and the thief handed over to the arm of the law. The 
 man had been employed for a few days as an assistant porter. 
 Little did he think he was carrying a detective in the form of a 
 Tenor ! 
 
 LIVING STRADIUARIUSES. 
 
 The following amusing incident occurred not long since. 
 A passionate lover of Fiddles being in Milan, made the acquaint- 
 ance of an Italian who, like himself, was a lover of the bow. 
 They had not long met before the theme of their mutual 
 delight was broached ; the beautiful features in the works of 
 the great masters were dwelt upon, their respective points of 
 genius discriminated, until the freemasonry of Fiddle-connois- 
 seurship was exhausted. Enquiries were exchanged as to the 
 whereabouts of remarkable specimens, when suddenly the 
 Italian's face brightened, and gave indication that a happy 
 thought had crossed his mind, as he remarked : " By the way, 
 I can introduce you to a friend who has in his possession some 
 
1 5 4 THE VIOLIN. 
 
 singularly choice specimens of Stradiuarius, of various dates, 
 all in splendid condition, and having heads of a very marked 
 character. There can be no mistake about their originality, it 
 asserts itself to the merest tyro ; indeed, I am not aware that it 
 has ever been called in question." His companion was on his 
 feet before he finished speaking, eagerly demanding where these 
 choice "Strads" were to be seen. The distance being but a 
 few streets off, it was agreed that they should start at once. On 
 arriving at a house in the Via Meravigli, the Italian enquired of 
 the servant if his master was at home. Being assured of this, 
 the Fiddle connoisseurs were shown into an apartment, where 
 they anxiously awaited the host. Presently he entered, and the 
 usual exchange of courtesies having been gone through, the 
 Italian, with the utmost gravity, enquired after the Stradiuari- 
 uses, and received answer that they never were better; his 
 companion, who was burning to feast his eyes on them, begged 
 that he might have the pleasure of seeing them. The host, 
 flattered by the interest taken in his "Strads" by his visitor, 
 acquiesced, left the room, and brought in his collection, which, 
 if not unique, was in every way original. It consisted of five 
 Stradiuariuscs three bo\ s and two girls. Unable longer to 
 restrain his laughter, the Italian broke forth into one of those 
 hearty peals which terminate only when the risible faculties are 
 completely exhausted. Signer Stradivari, the happy parent of 
 the collection just ushered into the room, regarded his visitor 
 with astonishment, in which he was joined by the specimens of 
 various dates, all being in complete ignorance of the harmless 
 joke. Ultimately the countenance of Signor Stradivari began 
 to assume anything but a pleasing appearance, as he had failed 
 to comprehend what there was about his cherished ones to 
 excite such ungovernable mirth. When the joke was explained, 
 it is needless to say that the wit's friend, the connoisseur, suf- 
 fered some disappointment, but soon heartily joined in the 
 laugh raised at his expense. Signor Stradivari and his family 
 were not long kept behind the curtain, and soon added their 
 laugh to that of the rest of the company. 
 
 A CINDERELLA VIOLONCELLO. 
 
 A somewhat curious change in the ownership of a Violon- 
 cello, occurred many years since. My father (Mr. John Hart), 
 was walking alone: Oxford Street, when he heard the sounds of 
 a Violoncello, a Violin, and a Cornet, which were being played 
 in a side street. His curiosity being excited, he became one of 
 the group of listeners. The appearance of the Violoncello 
 greatly pleased him; it was covered with a thick coating of 
 resin and dirt, but its author was clearly defined nevertheless. 
 When the players had concluded their performance, Mr. Hart 
 asked the wandering Violinist if he was disposed to sell his 
 
ANECDOTES. 155 
 
 instrument. "I have no objection, if I can get enough to buy 
 another and something over," was the answer. The terms not 
 being insurmountable, a bargain was struck, and the dealer in 
 Fiddles walked away, taking his newly-acquired purchase under 
 his arm. The itinerant trio having become a duet, gave up 
 work for that day. The lookers-on moved off, after having 
 exhibited considerable interest in the scene which had occurred. 
 Reaching home with his charge, Mr. Hart was in the act of 
 removing the accumulated dirt of many a hard day's work from 
 the Violoncello, when Robert Lindley entered, and asked what 
 might be the parentage of the instrument about which so much 
 pains were being taken. "A Forster," was the reply; and at 
 the same time the circumstances of the purchase were related. 
 Lindley was much amused, and expressed a wish to possess 
 the rescued instrument, though it had been much injured. The 
 price was agreed upon, and the Violoncello thus passed from 
 the most humble to the most exhalted player in one day. 
 
 THE PAINFUL OPERATION. 
 
 An ardent lover of the Violin, and possessor of a charming 
 Stradiuarius, which he prizes next to his own existence, had 
 occasion to submit the cherished object to the judgment of a 
 well-known Fiddle-doctor, on account of a slight derangement 
 of its interior organism. Before the coverlet was removed from 
 the patient, the learned doctor was well lectured and catechised 
 as to the system that he adopted in his healing profession. 
 Having passed through this ordeal to the entire satisfaction of 
 the owner of the Violin, the coverlet was lifted, and the instru- 
 ment given over to the repairer, who was then finally cautioned 
 and implored to handle it tenderly. The preliminary examina- 
 tion was at once proceeded with. Gentle taps upon the chest 
 of a Fiddle-patient are equivalent to the use of the stethescope 
 upon the chest of ordinary mortals. These taps were given in 
 rapid succession, until a weakness showed itself. The owner 
 looked enquiringly at the doctor, anxious for the delivery of his 
 opinion. "There is no help for it the belly must come off." 
 With great reluctance the owner consented. He resolved to 
 remain by the Violin during the operation, painful though it 
 would be to his feelings. He seated himself in a chair viewing 
 the ominous preparations of horrible implements, &c., with the 
 utmost concern. At length all was ready ; the knife was heard 
 to begin its work, and the usual crackling sound showed that 
 the operation had began. A piteous groan was uttered by the 
 Violin's Icving master, and as the knife went round the belly, 
 shriek after shriek did he utter. At last, when upon the com- 
 pletion of the painful operation, the doctor turned to submit 
 the interior of the instrument to his patron, he was astonished 
 to find he had swooned. 
 
156 THE VIOLIN. 
 
 "GUARNERIUS" AT A DISCOUNT. 
 
 With what tenacity do persons often cling to the fond belief 
 that undoubted Raphaels, Cinque Cento bronzes, dainty bits of 
 Joshua Wedgwood's ware, and old Cremonas, are exposed for 
 sale in the windows'of dealers in unredeemed pledges, brokers' 
 shops, and divers other emporiums ! It is the firm conviction 
 of these amiable persons, that scores of gems unknown, are 
 awaiting in such cosy lurking places the recognition of the 
 educated eye for their immediate deliverance to the light of day. 
 
 The quasi bric-a-brac portion of the general dealer's stock 
 is dexterously arrayed in his window, and not allowed to take 
 up a prominent position among the wares displayed. To expose 
 treasures would be a glaring act of indiscretion, inasmuch as 
 it would tend to the belief that the proprietor was perfectly 
 cognisant of the value of his goods, whereas he is imagined 
 by the hypothesis to be profoundly ignorant on the subject. 
 Pictures, bronzes, china, and Fiddles, with their extremely 
 modest prices attached, lie half-hidden behind a mountain of 
 goods of a diametrically opposite nature. There they may rest 
 for days, nay, weeks, before the individual with the educated 
 eye, for the good of all men, detects them. Sooner or later, 
 however, he makes his appearance, and peers into every nook 
 of the window, shading his eyes with his hands. Something 
 within arrests his attention, his nose gets flattened against the 
 glass in his eagerness to get nearer the object. He enters the 
 establishment, and asks to be allowed to look at an article quite 
 different to the one he has been so intent upon ; his object 
 being that the dealer may not awaken to a sense of the coveted 
 article's value by a stranger seeming to be interested in it. 
 After examining the decoy bird, he returns it, and carelessly 
 asks to look at the article. Whatever the value set upon it may 
 be, he tenders exactly the half, the matter being usually settled 
 by what is technically known as "splitting the difference." 
 Delighted with his purchase, he carries it home, and persuades 
 his friends he has got the blind side of the dealer, and is in 
 possession of the real thing for the fiftieth part of what others 
 give for it. He proceeds to enlighten his friends on the subject, 
 telling them to follow his example, which they invariably do. 
 
 Scarcely a day passes without my hearing of a Cremona 
 having been secured in the manner I have attempted to describe. 
 My experience, however, teaches me that the whole thing is 
 a delusion, and that the thoroughbred Cremona does not fall 
 away from the companionship of its equals, once in the space 
 of a lifetime, and that when this does happen, the instrument 
 rarely falls to the bargain-hunter. 
 
 The following exceptional incident will, I hope, not be 
 found wanting in interest as bearing on this theme. A votary 
 of the Violin purchased an old Fiddle for some two or three 
 
ANECDOTES. 157 
 
 pounds, from a general dealer in musical instruments in his 
 neighbourhood. He was well satisfied with his acquisition ; 
 and after subjecting it to a course of judicious regulation, so 
 great were the improvements effected that the vendor regretted 
 having sold it for such a trifling sum, and the more so, when it 
 was whispered about that the instrument was a veritable Amati 
 a report, by the way, far and wide of the mark, as it was 
 simply an old Tyrolean copy. 
 
 Some little time after the occurrence related, the lover of 
 Violins heard that the same individual seller from whom he 
 purchased the imagined Amati, had secured a job lot of some 
 half-dozen old Fiddles ; the remnant of an old London music- 
 seller's stock ; and that he was offering them for sale. Our 
 hero decided to pay another visit, and judge of the merits of 
 the new wares with a view to a second investment. Upon 
 presenting himself to the local seller of Violins, he was at once 
 informed that if he selected any instrument from the lot, he 
 must be prepared to pay 10, the dealer having no intention 
 of again committing his former error in selling a Cremona for 
 some forty shillings. Upon this understanding the visitor 
 proceeded to examine the little stock, which he found in a 
 very disordered condition bridgeless, stringless, and dusty. 
 Among the whole tribe, however, was a Violin which seemed 
 to elbow its way to the front of the group, and clamour for the 
 attention of which it appeared to deem itself worthy. Unable 
 to resist its seeming appeal, the intending purchaser decided to 
 remove it from the atmosphere of its companions, and begged 
 that he might be permitted to take the importuning Fiddle and 
 string it in order to test its qualities. His request being acceded 
 to, he carried it away. Upon reaching home, he took it from 
 its case and gently removed the dust of years. The varnish 
 appeared to him as something very different to any he had ever 
 seen before on a Violin ; and being an artist by profession, 
 qualities of colours were pretty well understood by him. With 
 the Violin posed on his knee, somewhat after the manner seen 
 in the well-known picture of Stradiuarius in his workshop, he 
 thus communed with himself: "I have never seen the much 
 spoken of Cremonese varnish, but if this instrument has it not, 
 its lustre must indeed be more wondrous than my imagination 
 has painted." After again and again examining the Violin, he 
 retired to rest but not to sleep. The Fiddle persisted in dodging 
 him whichever way he turned on his couch. At the dawn of 
 day five o'clock he was up with the Fiddle again on his knee, 
 thinking he might have been labouring under some infatuation 
 the night before, which the light of day might dispel. Con- 
 vinced he was under no such delusion, he soon made for the 
 music-seller's establishment, whom he delighted by paying the 
 price demanded for the Violin. It was now time, he felt, to 
 obtain professional advice on the matter ; in due course he paid 
 
/j<? THE 1'IOLIX. 
 
 me a visit ; upon his opening th case I was unable to restrain 
 my feelings of surprise, and demanded if he had any idea of 
 the value of the violin. "None, whatever," he answered. 
 Without troubling the reader further, I informed him that his 
 Violin was an undoubted JoFeph Guarnerius, of considerable 
 value. He then recounted the circumstances attending its 
 purchase, with which the reader is familiar. 
 
 DOMENICO DRAGONETTI-HIS GASRARD DI SALO. 
 
 Signor Dragonetti succeeded Berini asprimo basso in the 
 orchestra of the chapel belonging to the monastery of San 
 Marco, Venice, in his eighteenth year. The procurators of the 
 monastery, w ishing to show their high appreciation of his worth, 
 presented the youthful player with a magnificent Contra-Bass, 
 by Gaspard di Salo, which had been made expressly for the 
 chapel orchestra of the convent of St. Peter, by the famous 
 Brescian maker. 
 
 Upon an eventful night, the inmates of the monastery 
 retired to rest, when they were awakened by deep rumbling and 
 surging sounds, which they concluded was the preface of a 
 terrific thunderstorm. Unable to find repose whilst these noises 
 rent the air, they decided to visit the chapel ; and the nearer 
 they got to it, the louder the sounds became. Regarding each 
 other with looks of mingled fear and curiosity, they reached the 
 chapel, opened the door, and there stood the innocent cause of 
 their fright, Dornenico Dragonetti, immersed in the performance 
 of some gigantic passage of a range extending from the nut to 
 the bridge, on his newly-acquired Gaspard. For some time 
 neither " Drago " nor his nocturnal visitors were aware of the 
 presence of each other. The monks stood regarding the per- 
 former in amazement, possibly mistaking him for a second 
 appearance of the original of Tartini's "Sonata del Diavolo," 
 his Satanic Majesty having substituted the Contra- Bass for the 
 Violin. Upon this instrument, Dragonetti played at his chief 
 concert engagements, and though frequently importuned to sell 
 it by his numerous admirers, declined to do so ; in fact, though 
 for the last few years of his life he gave up public performance, 
 he resolutely refused most tempting offers for his treasure 
 ^"800 to use an auctioneer's phrase, "having been offered in 
 two places," and respectfully declined. In his youthful days 
 he decided that his cherished Gaspard should return to the 
 place from whence he obtained it, the monastery of San Marco, 
 and this wish was accordingly fulfilled by his executors in the 
 year 1846. The occasion was one of much interest ; it was felt 
 by Dragonetti's friends and admirers that to consign the instru- 
 ment upon which he had so often astonished and delighted them 
 with the magic tones he drew from it, to the care of those who 
 possibly knew nothing of its merits, was matter for regret. 
 
ANECDO TES. i 59 
 
 Being desirous of furnishing the reader with all the infor- 
 mation possible relative to Signer Dragonetti's instrument, I 
 communicated with Mr. Samuel Appleby, who was his legal 
 adviser, and probably better acquainted with him than any 
 other person in this country. He very kindly sent me the fol- 
 lowing particulars, which are interesting : 
 
 " Brighton, 
 
 2nd July, 1875. 
 
 "Mv DEAR SIR, 
 
 "Your letter of yesterday needs no apology, as it 
 will afford me pleasure at any time to give you any information 
 in my power respecting the late Signer Dragonetti, having 
 known him well from 1796 to his death. 
 
 "His celebrated Gaspard di Salo instrument, or Contra- 
 Bass, was left by his will to the Fabbrici (or churchwardens) 
 for the time being, of the church of St. Mark's, at Venice, to 
 be played upon only on festivals and grand occasions. I was 
 present on one of such festivals, which lasted three days, in 
 July, 1852. I then saw the Basso, which was played OH in 
 Orchestra No. i, there having been two bands for which music 
 had been composed expressly. 
 
 "In April, 1875, being again in Venice, I enquired from the 
 Verger of St. Mark's if Dragonetti's Violone was in the church, 
 and I could see it. The reply was in the affirmative, but as the 
 Fabbrici had the care of the instrument, under lock and key, it 
 would be necessary to see them and get their consent for its 
 production. As this would cause me some little trouble, I left 
 Venice without carrying out my intention. 
 
 "Dragonetti by his will left me his Amati Double Bass, 
 which is now in this house, and I believe the only one of that 
 make in England, and consequently highly prized by, 
 "Yours truly, 
 
 "Mr. Hart." "SAMUEL APPLEBY. 
 
 PLEASURES OF IMAGINATION. 
 
 A lady belonging to Convent Garden Theatre, who had 
 never heard Paganini, requested leave to be present at one of 
 the rehearsals of his concerts. It happened that Paganini did 
 not bring his Violin with him, but borrowed one from a member 
 of the orchestra, and instead of playing, made a kind oipizzacato 
 obbligato. After the rehearsal was finished, the lady addressed 
 Mr. Cooke: "Oh, dear, Mr. Cooke, what a wonderful man he is! 
 I declare, I may say, that till this morning I never knew what 
 music was capable of." Cooke replied, "Indeed, madam, he 
 is truly wonderful ; but allow me to observe that on this occa- 
 sion you are indebted rather to your imagination than your ears 
 for the delight you have experienced." " How, Mr. Cooke?" 
 
j6o THE VIOLIN. 
 
 "Why, madam, this morning Paganini has not played at all 
 he has not even touched a bow. " " Extraordinary ! " exclaimed 
 the lady ; " I am more than ever confirmed in my opinion of 
 him ; for if without playing he can affect in such a manner, how 
 much more wonderful are the sensations he must produce when 
 lie does play ! ' ' 
 
 THE BETTS STRAD1UARIUS. 
 
 The Bibliomaniac tells us of Caxton, Aldine and Basker- 
 ville editions, having been exposed for sale by itinerant book- 
 sellers, men who in opening their umbrellas opened their shops. 
 Collectors of pictures, china, and Fiddles, have each their 
 wondrous tales to tell of bygone bargains, which are but the 
 echoes of that of the Bibliomaniac's. It is doubtful, however, 
 were we to search throughout the curiosities of art sales, 
 whether we should discover such a bargain as Mr. Betts secured, 
 when he purchased the magnificent Stradiuarius which bears 
 his name, for twenty shillings.' About half a century since, 
 this instrument was taken to the shop of Messrs. Betts, the 
 well-known English Violin makers in the old Royal Exchange, 
 and disposed of for the trivial sum above-mentioned. Doubt- 
 less its owner believed he was selling a brand new copy, instead 
 of a "Stradiuarius" made in 1704, in a state of perfection. 
 Frequently importuned to sell the instrument, Mr. Betts per- 
 sistently declined, though it is recorded in Sandy and Forster's 
 work on the Violin, that five hundred guineas were tendered 
 more than once, which in those days must have been a tempting 
 offer indeed ! Under the will of Mr. Belts it passed to his 
 family, who for years retained possession of it. 
 
 About the year 1858 it became the property of M. Vuill- 
 aume, of Paris, from whom it was purchased by M. Wilmotte, 
 of Antwerp. Several years later it passed to C. G. Meier, Esq., 
 who had waited patiently for years to become its owner. The 
 loving care which this admirer of Cremonese Violins bestowed 
 upon it was such, that he would scarcely permit any person to 
 handle it. From Mr. Meier it passed into my possession in the 
 year 1878, which change of ownership brought forth the follow- 
 ing interesting particulars from the pen of Charles Reade, the 
 novelist and lover of Fiddles : 
 
 THE BETTS STRADIUARIUS. 
 To the Editor of the Globe. 
 
 "SiR, As you have devoted a paragraph to this Violin, 
 which it well deserves, permit me to add a fact which may be 
 interesting to amateurs, and to Mr. George Hart, the last pur- 
 chaser. M. Vuillaume, who could not speak English, was 
 always assisted in his London purchases by the late John Lott, 
 
ANECDOTES. 161 
 
 an excellent workman, and a good judge of old Violins. The 
 day after this particular purchase, Lott came to Vuillaume, by 
 order, to open the Violin. He did so in the sitting-room whilst 
 Vuillaume was dressing. Lett's first words were, ' Why it has 
 never been opened ! ' His next, ' Here's the original bass-bar.' 
 Thereupon out went M. Vuillaume, half dressed, and the pair 
 gloated over a rare sight, a Stradiuarius Violin, the interior of 
 which was intact from the maker's hands. Mr. Lott described 
 the bass-bar to me. It was very low and very short, and quite 
 unequal to support the tension of the strings at our concert 
 pitch, so that the true tone of this Violin can never have been 
 heard in England before it fell into Vuillaume's hands. I have 
 known this Violin forty years. It is wonderfully preserved. 
 There is no wear on the belly except the chin-mark ; in the 
 centre of the back a very little, just enough to give light and 
 shade. The corners appear long for the epoch, but only 
 because they have not been shortened by friction, like other 
 examples of the time. For the same reason the edges seem 
 high, but orily because they have not been worn down. As far 
 as the work goes, you may know from this instrument how a 
 brand-new Stradiuarius Violin looked. Eight hundred guineas 
 seems a long price for a dealer to give ; but after all, here is a 
 Violin, a picture, and a miracle all in one ; and big diamonds 
 increase in number ; but these spoils of time are limited for 
 ever now, and, indeed, can only decrease by shipwreck, 
 accident, and the tooth of time. I am, Your obedient servant. 
 " 19, Albert-gate, May 9. CHARLES READE." 
 
 LEIGH HUNT ON PAGANINI. 
 
 " ' I projected,' says Leigh Hunt, 'a poem to be called 'A 
 day with trie reader.' I proposed to invite the reader to break- 
 fast, dine and sup with me, partly at home and partly at a 
 country inn, to vary the circumstances. It was to be written 
 both gravely and gaily ; in an exalted, or in a lowly strain, 
 according to the topics of which it treated. The fragment on 
 Paganini was a part of the exordium : 
 
 ' So played of late to every pissing thought, 
 With finest change (might I but half as well 
 So write!) the pale magician of the bow,' etc. 
 
 ' I wished to write in the same manner, because Paganini with 
 his Violin could move both the tears and the laughter of his 
 audience, and (as I have described him doing in the verses) 
 would now give you the notes of birds in trees, and even hens 
 feeding in a farm-yard (which was a corner into which I meant 
 to take my companion), and now melt you into grief and pity, 
 or mystify you with witchcraft, or put you into a state of lofty 
 triumph like a conquerer. That phrase of smiting the chord 
 
 ' He smote ; and clinging to the serious chords 
 With godlike ravishment/ etc. 
 
i6z THE VIOLIN. 
 
 was no classical commonplace ; nor, in respect to impression 
 on the mind, was it exaggeration to say, that from a single 
 chord he would fetch out 
 
 ' The voice of quires, and weight 
 Of the built organ.' 
 
 ' Paganini, the first time I saw and heard him and the first 
 moment he struck a note, seemed literally to striked, 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 a-kimbo 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, bust, and the raised hand of 
 the wonderful musician, with his instrument at his chin, just 
 going to commence, and looking exactly as I have described 
 Wm. 
 
 ' His hand 
 
 Loading the air with dumb expectancy 
 Suspended, 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 > earned 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 seemed 
 Too feeble, or, to melancholy eyes, 
 One that has parted with his soul for pride 
 And in the sable secret liv'd 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 uttered, "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.' " Timbs's 
 Anecdote Biography. 
 
 THACKERAY ON ORCHESTRAL MUSIC. 
 
 "I wish I were a poet; you should have a description of 
 all this in verses, and welcome. But if I were a musician ! 
 Let us see what we should do as musicians. First, you should 
 hear the distant sound of a bugle, which sounds should float 
 away : that is one of the heralds of the morning, flying south- 
 ward. Then another should issue from the eastern gates; and 
 now the grand reveille should grow, sweep past your ears (like 
 the wind aforesaid), and go on, dying as it goes. When as it 
 dies, my stringed instruments come in. These to the left of 
 the orchestra break into a soft slow movement, the music 
 
ANECDOTES. 163 
 
 swaying drowsily from side to side, as it were, with a noise like 
 the rustling of boughs. It must not be much of a' noise, how- 
 ever, for my stringed instruments to the right have begun the 
 very song of the morning. The bows tremble upon the strings, 
 like the limbs of a dancer, who, a-tiptoe, prepares to bound 
 into her ecstacy of motion. Away ! The song soars into the 
 air as if it had the wings of a kite. Here swooping, there 
 swooping, wheeling upward, falling suddenly, checked, poised 
 for a moment on quivering wings, and again away. It is waltz 
 time, and you hear the Hours dancing to it. Then the horns. 
 Their melody overflows into the air richly, like honey of 
 Hybla ; it wafts down in lazy gusts, like the scent of the thyme 
 from that hill. So my stringed instruments to the left cease 
 rustling, listen a little while, catch the music of those others, 
 and follow it. Now for the rising of the lark ! Henceforward 
 it is a chorus, and he is the leader thereof. Heaven and earth 
 agree to follow him. I have part for the brooks their notes 
 drop, drop, drop, like his : for the woods they sob like him. 
 At length, nothing remains but to blow the hautboys ; and just 
 as the chorus arrives at its fulness, they come maundering in. 
 They have a sweet old blundering 'cow song' to themselves 
 a silly thing, made of the echoes of all pastoral sounds. 
 There's a warbling waggoner in it, and his team jingling their 
 bells. There's a shepherd driving his flock from the fold, 
 bleating ; and the lowing of cattle. Down falls the lark like a 
 stone ; it is time he looked for grubs. Then the hautboys go 
 out, gradually ; for the waggoner is far on his road to market ; 
 sheep cease to bleat and cattle to low, one by one ; they are 
 on their grazing ground, and the business of the day is begun. 
 Last of all, the heavenly music sweeps away to waken more 
 westering lands, over the Atlantic and its whitening sails." 
 "An Essay ivithout end. " 
 
 A ROYAL AMATEUR. 
 
 "The late Francis the First, Emperor of Austria, was a 
 passionate lover of music, and played admirably on the flute. 
 His greatest pleasure was to perform the trios and quartetts ot 
 the old masters. One of the household physicians of the court 
 excelled on the Tenor. As imperial etiquette did not permit 
 a simple physician to accompany the Emperor in his pieces 
 unless he had the entree at court, Francis first created his doctor 
 a baron and then a privy councillor, thus giving him \\\spetites 
 and grandes entrees. By' the help of his Tenor-playing our 
 medical musician insinuated himself so successfully into the 
 good graces of the Emperor, that he became almost the rival 
 of Metternich, and all the other ministers courted his friendship. 
 Such was the rise of the celebrated Baron Still. But for his 
 Viola, this all-powerful favourite of Francis the First would 
 have lived and died an obscure physician." Critique Musicale. 
 
/<V THE ['10 LIN. 
 
 VIOLINS FROM A MEDICAL POINT OF VIEW. 
 
 "Music and the sounds of instruments says the lively 
 Vignent de Marville contribute to the health of the body and 
 the mind ; they assist the circulation of the blood, they dissipate 
 vapours, and open the vessels, so that the action of perspiration 
 is freer. He tells a story of a person of distinction, who assured 
 him, that once being suddenly seized by violent illness, instead 
 of a consultation ol physicians, he immediately called a band 
 of musicians, and their Violins played so well in his inside that 
 his bowels became perfectly in tune, and in a few hours were 
 harmoniously becalmed." D' Israeli's Curiosities of Literature. 
 
 POPE PIUS IX. AND THE MUSICIAN. 
 
 "An Italian composer, named Peregrini, was a fellow- 
 student of Mastai Ferretti, now the occupant of the Papal 
 chair. Since their quitting college, Fortune abandoned the 
 maestro, whilst she smiled upon the Priest. One day Pius IX. 
 received the following letter: 'Most Holy Father I know 
 not if you recollect that I had the honour of being your fellow- 
 student at college, and that your Holiness has often done me 
 the honour of playing duos with me on the Violin ; and that 
 the execution of them was not always irreproachable, at least 
 on my part, which so displeased your Holiness at the time that 
 you deigned to apply certain corrections to my ringers. I have 
 taken the liberty of revealing myself to your recollection, and 
 to pray you to take under your protection one who can never 
 cease to remember the happy moments he has passed with him 
 whose apostolic virtues have raised him to the throne of Saint 
 Peter.' The Pope replied, 'I have never forgotten your name, 
 my son ; come to me at Rome, and we will again play duets 
 together, and if you have not progressed in your studies, I shall 
 know how again to correct you.' " Hogarth' s Musical Herald. 
 
 DR. JOHNSON AND THE VIOLIN. 
 
 " Dr. Johnson was observed by a musical friend of his to 
 be extremely inattentive at a concert, whilst a celebrated solo 
 player was running up the divisions and sub-divisions of notes 
 upon his Violin. His friend, to induce him to take greater 
 notice of what was going on, told him how extremely difficult it 
 was. ' Difficult do you call it, sir ! ' replied the Doctor ; ' I wish 
 it were impossible.'' " Seward's Anecdotes of Dr. Johnson. 
 
 "In the evening our gentleman farmer, and two others, 
 entertained themselves and the company with a great number 
 of tunes on the Fiddle. Johnson desired to have ' Let ambition 
 fire thy mind ' played over again, and appeared to give a patient 
 attention to it ; though he owned to me that he was very insen- 
 sible to the power of music. I told him that it affected me to 
 
ANECDOTES. 165 
 
 such a degree, as often to agitate my nerves painfully, produc- 
 ing in my mind alternate sensations of pathetic dejection, so 
 that I was ready to shed tears ; and of daring resolution, so 
 that I was inclined to rush into the thickest part of the battle, 
 'Sir,' said he, 'I should never hear it, if it made me such a 
 fool.' " Bosweir s Life of Johnson. 
 
 DR. JOHNSON ON THE DIFFICULTY OF PLAYING THE FIDDLE. 
 
 " Goldsmith : ' I spoke of Mr. Harris, of Salisbury, as being 
 a very learned man and in particular an eminent Grecian.' 
 
 "Johnson : ' I am not sure of that. His friends give him 
 out as such, but I know not who of his friends are able to judge 
 of it.' 
 
 "Goldsmith : ' He is what is much better : he is a worthy 
 humane man.' 
 
 "Johnson: 'Nay, sir, that is not to the purpose of our 
 argument; that will as much prove that he can play upon the 
 Fiddle as well as Giardini, as that he is an eminent Grecian.' 
 
 "Goldsmith: 'The greatest musical performers have but 
 small emoluments ; Giardini, I am told, does not get above 
 seven hundred a year.' 
 
 "Johnson : ' That is indeed but little for a man to get, who 
 does best that which so many endeavour to do. There is noth- 
 ing, I think, in which the power of art is shown so much as in 
 playing on the Fiddle. In all other things we can do some- 
 thing at first ; any man will forge a bar of iron if you give him 
 a hammer : not so well as a smith, but tolerably; and make a 
 box, though a clumsy one ; but give him a Fiddle and a Fiddle- 
 stick, and he can do nothing.' " BosivelTs Life of Johnson. 
 
 DR. JOHNSON'S EPITAPH ON PHILIPS, THE WELSH VIOLINIST. 
 
 "Johnson and Garrick were sitting together, when among 
 other things Garrick repeated an Epitaph upon Phillips, by a 
 Dr. Wilkes, which was very commonplace, and Johnson said to 
 Garrick, 'I think Davy, I can make a better.' Then stirring 
 about his tea for a little while in a state of meditation, he almost 
 extempore, produced the following verses : 
 
 " ' Philips, whose touch harmonious could remove 
 The pangs of guilty power or hapless love ; 
 Rest here, distress'd by poverty no more. 
 Here find that calm thou gay'st so oft before ; 
 Sleep undisturbed within this peaceful ihrine, 
 Till angels wake thee with a note like thine 1 ' 
 
 The prose part is curious : 
 
 "Near this place lies Charles Claudius Philips, whose 
 absolute contempt of riches, and inimitable performances on 
 the Violin, made him the admiration of all that knew him. He 
 was born in Wales, made the tour of Europe, and after the 
 experience of both kinds of fortune, died in 1732." 
 
j66 THE VIOLIN. 
 
 ARTISTIC ENTHUSIASM. 
 
 Boucher, the French Violinist, used to introduce in his 
 concertos long extemporaneous cadenzas. Sometimes he was 
 so wrapped up in his arpeggios, that the band and audience 
 were forgotten. Upon one occasion, Boucher played a concerto 
 at the end of a tedious concert. He never played better, and 
 the immense applause he received inspired him to such a degree, 
 that at the pause Boucher began a cadenza, introducing nearly 
 all the motives which had been heard at the concert. He went 
 on, he played for ten minutes twenty minutes. At last the 
 band went away, and soon after the audience, but Boucher 
 never looked up, and still continued his cadenza. At last the 
 proprietor of the room approached Boucher, and bowing to the 
 astonished Violinist, shewed him a key, saying, " My dear sir, 
 it is very late, everybody is gone. When you have finished, 
 please to shut the door." 
 
 Is like an Echo, a retail dealer in sounds. As Diana is the 
 goddess of the silver bow, so is he the lord of the wooden one ; 
 he has a hundred strings to his bow ; other people are bow- 
 legged, he is bow-armed ; and though armed with a bow he has 
 no skill in archery. He plays with cat-gut and A7/-Fiddle. 
 His fingers and arms run a constant race ; the former would 
 run away from him did not a bridge interpose and oblige him 
 to pay toll. He can distinguish sounds as other men distinguish 
 colours. His companions are crotchets and quavers. Time 
 will never be a match for him, for he beats him most unmerci- 
 fully. He runs after an Italian air open-mouthed, with as much 
 eagerness as some fools have sought the philosopher's stone. 
 He can bring a tune over the seas, and thinks it more excellent 
 because far-fetched. His most admired domestics are Soprano, 
 Siciliano, Andantino, and all the Anos and Inos that constitute 
 the musical science. He can scrape, scratch, shake, diminish, 
 increase, flourish, &c. ; and he is so delighted with the sound 
 of his own Viol, that an ass would sooner lend his ears to any- 
 thing than to him ; and as a dog shakes a pig, so does he shake 
 a note by the ear, and never lets it go till he makes it squeak. 
 He is a walking pillory, and crucifies more ears than a dozen 
 standing ones. He often involves himself in dark and intricate 
 passages, till he is put to a shift, and obliged to get out of a 
 scrape by scraping. HisViolhasthe effect of a Scotch Fiddle, 
 for it irritates its hearers, and puts them to the itch. He tears 
 his audience in various ways, as I do this subject ; and as I wear 
 away my pen, so does he wear away the strings of his Fiddle. 
 There is no medium to him ; he is either in a flat or a sharp key, 
 though both are natural to him. He deals in third minors, and 
 major thirds ; proves a turncoat, and is often in the majority 
 
ANECDOTES. 167 
 
 and minority in the course of a few minutes. He runs over the 
 flat as often as any Newmarket race-horse ; both meet the same 
 fate, as they usually terminate in a cadence ; the difference is 
 one is driven by the whip-hand, the other by the bow-arm ; one 
 deals in stakado, the other in staccato. As a thoroughbred 
 hound discovers, by instinct, his game from all other animals, 
 so an experienced musician feels the compositions of Handel 
 or Corelli. Yours, TIMOTHY CATGUT, Stamford." Monthly 
 Mirror 
 
 ORIGIN OF TARTINI'S "DEVIL'S SONATA." 
 
 "One night in the year 1713," says Tartini, "I dreamed 
 that I had made a compact with his Satanic majesty, by which 
 he was received into my service. Everything succeeded to the 
 utmost of my desires, and my every wish was anticipated by 
 this my new domestic. I thought that on taking up my Violin 
 to practise, I jocosely asked him if he could play on that instru- 
 ment. He answered, that he believed he was able to pick out 
 a tune ; and then, to my astonishment, began to play a sonata, 
 so strange and yet so beautiful, and executed in so masterly a 
 manner, that I had never in my life heard anything so exquisite ; 
 I could scarcely breathe for amazement. Awakened by the 
 violent emotion, I instantly seized my Violin, in the hope of 
 being able to catch some part of the ravishing melody which I 
 had just heard, but all in vain. The piece which I composed 
 according to my scattered recollection is, it is true, the best ot 
 my works. I have called it the ' Sonata del Diavolo, ' but it is 
 so far inferior to the one I heard in my dream, that I should 
 have dashed my Violin into a thousand pieces, and given up 
 music for ever, had it been possible to deprive myself of the 
 enjoyments I derive from it." 
 
 GEORGE IV. AND HAYDN. 
 
 "The Prince of Wales (George IV.) invited him to his 
 brother's country seat. Here he stayed two days, and had 
 much music with the royal family. They made him sing, while 
 the Prince accompanied, 'very tolerably,' on the Violoncello; 
 and Sir Joshua Reynolds also commenced his portrait which 
 was destined to hang in the Prince's private sitting room." 
 
 SPOHR AND HIS GUARNERIUS. 
 
 "Shortly before my leaving Brunswick I had a case made 
 worthy of the splendid Violin I had brought from Russia, viz., 
 a very elegant one ; and in order to protect this from injury, I 
 had packed it up in my trunk, between my linen and clothes. 
 I therefore took care that this, which contained my whole estate, 
 should be carefully fastened behind the carriage with cords. 
 But, notwithstanding, I thought it necessary to look out fre- 
 
168 THE VIOLIN. 
 
 quently, particularly as the driver told me several trunks had 
 been cut down from behind carriages. As the carriage had no 
 window at the back, this continual looking out was a very 
 troublesome business, and I was therefore very glad when, 
 towards evening, we arrived between the gardens of Gottingen, 
 and I had convinced myself for the last time that the trunk was 
 still in its place. Delighted that I had brought it so far in safety, 
 I remarked to my fellow-traveller : ' My first care shall now be 
 to procure a good strong chain and padlock for the better 
 security of the trunk.' 
 
 " In this manner we arrived at the town gate, just as they 
 were lighting the lamps. The carriage drew up before the 
 guard-house. While Beneke gave pur names to the sergeant, 
 I anxiously asked one of the soldiers who stood round the 
 carriage, 'Is the trunk still secured?' 'There is no trunk 
 there/ was the reply. With one bound I was out of the car- 
 riage, and rushed out through the gate with a drawn hunting- 
 knife. Had I with more reflection listened awhile, I might, 
 perhaps, have been fortunate enough to hear and overtake the 
 thieves running off by some side-path. But in my blind rage I 
 had far overshot the place where I had last seen the trunk, and 
 only discovered my over-haste when I found myself in the open 
 field. Inconsolable for my loss, I turned back. While my 
 fellow-traveller looked for the inn, I hastened to the police- 
 office and requested that an immediate search might be made 
 in the garden houses outside the gate. To my astonishment 
 and vexation I was informed that the jurisdiction outside the 
 gate belonged to Weende, and that I must address my request 
 there. As Weende was a half-a-league from Gottingen, I was 
 compelled to abandon for that evening all further steps for the 
 recovery of my Guarnerius. I passed a sleepless night in a 
 state of mind such as, in my hitherto fortunate career, had been 
 wholly unknown to me. Had I not lost my splendid Guarne- 
 rius, the exponent of all the artistic excellence I had till then 
 attained, I could have lightly borne the loss of the rest. On 
 the following morning the police sent to inform me that an 
 empty trunk and a Violin-case had been found in the fields 
 behind the gardens. Full of joy, I hastened thither, in the 
 hope that the thieves might have left the Violin in the case, as 
 an object of no value to them ; but unfortunately it did not 
 prove so. The bow of the Violin, a genuine Tourte, secured 
 in the lid of the case, had remained undiscovered." Spohr's 
 Autobiography. (Longman and Co., 1865). 
 
 THE ETTRICK SHEPHERD AND THE VIOLIN. 
 
 " But the pleasantest part of our fellowship is yet to de- 
 scribe. At a certain period of the night, our entertainer (the 
 renowned Timothy Tickler) knew by the longing looks which 
 
ANECDO TES. rfg 
 
 I cast to a beloved corner of the dining-room, what was want- 
 ing. Then with ' O, I beg your pardon Hogg, I was forgetting, ' 
 he would take out a small gold key that hung by a chain of the 
 same precious metal to a particular button-hole, and stalk away 
 as tall as the life, open two splendid Fiddle-cases, and produce 
 their contents, first the one, then the other; but always keeping 
 the best to himself. I'll never forget with what elated dignity, 
 there was a twist of the lip, and an upward beam of ^the eye, 
 that were truly sublime. Then down we sat, side by side, and 
 began at first gently, and with easy motion, like skilful grooms, 
 keeping ourselves up for the final heat, which was slowly but 
 surely approaching. At the end of every tune we took a glass, 
 and still our enthusiastic admiration of the Scottish tunes in- 
 creased our energies of execution redoubled till, ultimately, 
 it became not only a complete and well-contested race, but a 
 trial of strength, to determine which should drown the other. 
 The only feeling short of ecstacy, that came across us in these 
 enraptured moments, were caused by hearing the Jaugh and 
 joke going on with our friends, as if no such thrilling strains 
 had been flowing. But if Tym's eye chanced to fall on them, 
 it instantly retreated upwards again in mild indignation. To 
 his honour be it mentioned, he has left me a legacy of that 
 inestimable Violin, provided that I outlive him. But not for a 
 thousand such would I part with my old friend." Altrine Tales. 
 Hogg' s Reminiscences of Former Days. 
 
 THE FIDDLE TRADE. 
 (Bv PERMISSION OK MESSRS. W. & R. CHAMBERS). 
 
 "There is, for instance, Old Borax, whom those who 
 want to know whereabouts to look for within the shadow of 
 St. Martin's Church. 
 
 " Borax makes but little demonstration of his wealth in the 
 dingy hole that serves him for a shop, where a Double-Bass, a 
 couple of Violoncellos, a Tenor or two hanging on the walls, 
 and a half-a-dozen Fiddles lying among a random collection of 
 bows, bridges, coils of catgut, packets of purified resin, and 
 tangled horsehair in skeins, serve for the insignia of his profes- 
 sion. But Borax never does business in his shop, which is a 
 dusty desert from one weeks end to another. His warehouse is 
 a private sanctum on the first floor, where you will find him in 
 his easy chair reading the morning paper, if he does not happen 
 to be engaged with a client. Go to him for a Fiddle, or carry 
 him a Fiddle for his opinion, and you will hardly fail to acknowl- 
 edge that you stand in the presence of a first-rate judge. The 
 truth is, that Fiddles of all nations, disguised and sophisticated 
 as they may be to deceive common observers, are naked and 
 self-confessed in his hands. Dust, dirt, varnish, and bees- wax 
 are thrown away upon him ; he knows the work of every man, 
 
ijo THE VIOLIN. 
 
 of note or of no note, whether English, French, Dutch, German, 
 Spaniard, or Italian, who ever sent a Fiddle into the market, 
 for the last 200 years ; and he will tell you who is the fabricator 
 of your treasure, and the rank he holds in the Fiddle-making 
 world, with the utmost readiness and urbanity on payment of 
 his fee of one guinea. 
 
 "Borax is the pink of politeness, though a bit of a martinet 
 after an ancient and punctilious model. If you go to select a 
 Fiddle from his stock, you may escape a lecture of a quarter 
 of an hour by calling it a Fiddle, and not a Violin, which is a 
 word he detests, and is apt to excite his wrath. He is never in 
 a hurry to sell, and will by no means allow you to conclude a 
 bargain until he has put you in complete possession of the 
 virtues, and failings, if it have any, of the instrument for which 
 you are to pay a round sum. As his Fiddles lie packed in 
 sarcophagi, like mummies in an Egyptian catacomb, your 
 choice is not perplexed by any embarras de richesses ; you see 
 but one master-piece at a time, and Borax will take care that 
 you do see that, and know all about it, before he shows you 
 another. First unlocking the case, he draws the instrument 
 tenderly from its bed, grasps it in the true critical style with the 
 fingers and thumbs of both hands a little above the bridge, 
 turning the scroll towards you. Now and then he twangs, with 
 the thumb of his left hand, the third or fourth string, by way of 
 emphasis to the observations, which he feels bound to make 
 instinctively avoiding, however, that part of the strings subject 
 to the action of the bow. Giving you the name of the maker, 
 he proceeds to enlighten you on the peculiar characteristics of 
 his work ; then he will dilate upon the remarkable features of 
 the specimen he holds in his hand its build, its model, the 
 closeness and regularity of the grain of the wood of which the 
 belly was fashioned ; the neatness, or, wanting that, the original 
 style of the purfling the exquisite mottling of the back, which 
 is wrought, he tells you, 'by the cunning hand of nature in the 
 primal growth of the tree ' twang. Then he will break out 
 into placid exclamations of delight upon the gracefulness of 
 the swell twang and the noble rise in the centre twang 
 and make you pass your hand over it to convince yourself; 
 after which, he carefully wipes it down with a silk handkerchief. 
 This process superinduces another favourite theme of eulogium 
 namely, the unparalleled hue and tone (of colour) imparted 
 by the old Italian varnish a hue, he is sure to inform you, 
 which it is impossible to imitate by any modern nostrums 
 twang. Then he reverts to the subject of a Fiddle's indis- 
 pensables and fittings ; discourses learnedly on the carving of 
 scrolls, and the absurd substitution, by some of the German 
 makers, of lions' heads in lieu of them ; hinting, by the way 
 that said makers are asses, and that their instruments bray 
 when they should speak twang. Then touching briefly on the 
 
ANECDOTES. /// 
 
 pegs, which he prefers unornamented, he will hang lingeringly 
 upon the neck, pronounce authoritatively upon the right degree 
 of elevation of the finger-board, and the effects of its due 
 adjustment of the vibration of the whole body-harmonic, and, 
 consequently, upon the tone. Then jumping over the bridge, 
 he will animadvert on the tail-piece ; after which, entering at 
 the^ holes not without a fervent encomium upon their graceful 
 drawing and neatness of cut twang he will introduce you to 
 the arcanum mysterii, the interior of the marvellous fabric 
 point out to you, as plainly as though you were gifted with 
 clairvoyance, the position and adaptation of the various linings, 
 the bearings of the bass-bar, that essential adjunct to quality ot 
 tone tivang and the proper position of the sound-post. 
 Lastly, he will show you, by means of a small hand-mirror 
 throwing a gleam of light into its entrails, the identical auto- 
 graph of the immortal maker Albani, Guarnerius, or Amati, 
 as the case may happen with the date printed in the lean 
 old type, and now scarcely visible through the dust of a 
 couple of centuries, ''Amati Cremonae fecit 1645,' followed by 
 a manuscript signature in faded ink, which you must take 
 for granted. 
 
 " Borax has but one price ; and if you do not choose to 
 pay it, you must do without the article. The old fellow is a 
 true believer, and is accounted the first judge in Europe ; 
 Fiddles travel to him from all parts of the continent for his 
 opinion, bringing their fees with them ; and for every instru- 
 ment he sells, it is likely he pronounces judgment upon a 
 hundred. It is rumoured that the greatest masterpieces in 
 being are in his possession. 
 
 "A dealer of a different stamp i Michael Schnapps, well 
 known in the trade, and the profession too, as a ravenous 
 Fiddle-ogre, who buys and sells everything that bears the 
 Fiddle shape, from a Double-Bass to a dancing-master's 
 pocketable Kit. His house is one vast warehouse, with Fiddles 
 on the walls, Fiddles on the staircases, and Fiddles hanging 
 like stalactites from the ceilings. To him the tyros resort when 
 they first begin to scrape ; he will set them up for ten shillings, 
 and swop them up afterwards, step by step, to ten or twenty 
 guineas, and to ten times that amount if they are rich enough 
 and green enough to continue the experiment. Schnapps im- 
 ports Fiddles in the rough, under the designation of toys, most 
 of which are the production of his peasant-countrymen border- 
 ing on the Black Forest ; and with these he supplies the 
 English provinces and London toy and stationers' shops. He 
 is, further, a master of the Fiddle-making craft himself, and so 
 consummate an adept in repairing, that nothing short of con- 
 suming fire can defeat his art. When Pinker, of Norwich, 
 had his Cremona smashed all to atoms in a railway collision, 
 Schnapps rushed down to the scene of the accident, bought 
 
j?2 THE VIOLL\. 
 
 the lot of splintered fragments for a couple of pounds, and in 
 a fortnight had restored the magnificent Stradiuarius to its 
 original integrity, and cleared 150 guineas by its sale. But 
 Schnapps is a humbug at bottom an everlasting copyist and 
 manufacturer of dead masters, Italian, German and English. 
 He has sold more Amatis in his time, than Amati himselt ever 
 made. He knows the secret of the old varnish ; he has hidden 
 stores of old wood planks of cherry-tree and mountain-ash 
 centuries old, and worm-eaten sounding boards of defunct 
 harpsichords, and reserves of the close-grained pine hoarded 
 for ages. He has a miniature printing press, and a fount of the 
 lean-faced long- forgotten type, and a stock of the old ribbed 
 paper torn from the fly-leaves of antique folios ; and, of course, 
 he has always on hand a collection of the most wonderful 
 instruments at the most wonderful prices, for the professional 
 man or the connoisseur. 
 
 ' ' You vant to py a Pfeedel,' says Schnapps. ' I sail sell 
 you de pest dat ish, de pest for de mowny. Vat you sail gif 
 for him?" 
 
 " ' Well, I can go as far as ten guineas,' says the customer. 
 
 " ' Ten kinnis is goot for von goot Pfeedel ; bote besser is 
 tventy, tirty, feefty kinnis, or von hunder, look you ; bote ten 
 kinnis is goot you sail see.' 
 
 "Schnapps is all simplicity and candour in his dealings. 
 The probability is, however, that his ten-guinea Fiddle would 
 be fairly purchased at five, and that you might have been 
 treated to the same article had you named thirty or forty 
 guineas instead of ten. 
 
 "I once asked Schnapps if he knew wherein lay the 
 excellence of the old Italian instruments. 
 
 ' ' Mein Gott ! if I don't, who de teifil does ? ' 
 
 " Then he went on to inform me, that it did not lie in any 
 peculiarity in the model, though there was something in that ; 
 nor in the wood of the back, though there was something in 
 that ; nor in the fine and regular grain of the pine which 
 formed the belly, though there was something in that ; nor in 
 the position of the grain running precisely parallel with the 
 strings, though there was something in that ; nor in the sides, 
 nor in the finger-board, nor in the linings, nor in the bridge, 
 nor in the strings, nor in the waist, though there was something 
 in all of them ; nor yet in the putting together, though there 
 was much in that.' 
 
 ' 'Where does it lie, then, Mr. Schnapps? ' 
 
 " 'Ah, der henker ! hang if I know.' 
 
 ' ' ' Has age much to do with it, think you ? ' 
 
 " ' Not mosche. Dere is pad Pfeedels two hunder years ole 
 as veil as goot vons ; and dere is goot Pfeedels of pad models, 
 vitch is made fery pad, and pad Pfeedels of de fery pest models, 
 and peautiful made as you sail vish to see.' 
 
ANECDOTES. 173 
 
 "This is the sum total of the information to be got out of 
 Schnapps on that mysterious subject. On other matters he can 
 pronounce with greater exactness. He knows every Cremona 
 in private or professional hands in the whole kingdom ; and 
 where the owner bought it, if he did buy it ; and what he gave 
 for it, or from whom he inherited it, if it came to him as a heir- 
 loom. Of those of them which have passed through his hands, 
 he has got fac-similes taken in plaster, which serve as exemplars 
 for his own manufactures. Upon the death of the owner of 
 one of these rarities, Schnapps takes care to learn particulars; 
 and if the effects of the deceased come under the hammer, he 
 starts off to the sale, however distant, where, unless some of 
 his metropolitan rivals in trade have likewise caught the scent, 
 he has the bidding all his own way, and carries off the prize. 
 
 "The inundation of German Fiddles, which may be bought 
 new for a few shillings, has swamped English makers of cheap 
 instruments, of which there are by this time five times as many 
 in the market as there is any occasion for. Hence it is that 
 Fiddles meet us everywhere ; they cumber the toy-shop ; they 
 house with the furniture dealer ; they swarm by thousands in 
 the pawnbrokers' stores, and block out the light from his 
 windows ; they hang on the tobacconists' walls ; they are 
 raffled at public-houses ; and they form an item in every 
 auctioneer's catalogue. 
 
 "Meanwhile the multiplication of rubbish only enhances 
 the value of gold ; and a Fiddle worthy of an applauding 
 verdict from old Borax is more difficult of acquisition than 
 ever. So I shall keep my Cremona." 
 
 Dr. Abercrombie recommends "Careful classification of 
 the insane, so that the mild and peaceful melancholic may not 
 be harassed by the ravings of the maniac : the importance of 
 this is obvious ; but of still greater importance," he continues, 
 "it will probably be, to watch the first dawnings of reason, and 
 instantly to remove from the patient all associates by whom 
 his mind might be again bewildered." The following case, 
 mentioned by Pinel, is certainly an extreme one, but much 
 important reflection arises out of it : 
 
 "A musician confined in the Bice"tre, as one of the first 
 symptoms of returning reason, made some slight allusion to his 
 favourite instrument. It was immediately procured for him ; 
 he occupied himself with music for several hours every day, 
 and his convalescence seemed to be advancing rapidly. But 
 he was then, unfortunately, allowed to come frequently in con- 
 tact with a furious maniac, by meeting him in the gardens. 
 The musician's mind was unhinged ; his Violin was destroyed ; 
 and he fell back into a state of insanity which was considered as 
 confirmed and hopeless." Abercrombie 's Intellectual Powers. 
 
174 THE VIOLl.\\ 
 
 "An old English author of the name of Simpson, a master 
 of music of some eminence in the reign of Charles II., has, in 
 a work entitled 'The Division of the Violin,' drawn from the 
 theory of music a singular illustration of the doctrine of Trinity 
 in Unity. 'When I further consider,' he says, 'that three 
 sounds placed by the interval of a third one above another, do 
 constitute one entire harmony, which governs and comprises 
 all the sounds that by art or imagination can at once be joined 
 together in musical accordance, that I cannot but think a signi- 
 ficant emblem of that Supreme and Incomprehensible Three in 
 One, governing, comprising, and disposing the whole machine 
 of the world, with all its included parts, in a most perfect and 
 stupendous harmony.' " New Cyclopedia of Anecdote. 
 
 " Puppo, the Violinist being in Paris in 1793, was summoned 
 before the Committee of Public Safety on suspicion, when the 
 following interrogatories were put to him. ' Your name ? ' 
 ' Puppo.' ' What were you doing during the time of the tyrant ?' 
 ' I played the Violin.' 'What do you do now? ' ' I play the 
 Violin.' ' And what will you do for the nation ? ' 'I will play 
 the Violin.' " 
 
 A MOTTO ON A CREMONA. 
 
 " In silvis viva silva ; cano'ra jam mor'tua cano." 
 " Speechless, alive, I heard the feathered throng; 
 Now, being dead, I emulate their song." 
 
 "Sir Walter Scott's barristers possess among their gentle- 
 manly embellishments a knowledge of stringed instruments. 
 Who can forget that the young Templar, Master Lowestoffe 
 ("Fortunes of Nigel," chap, xvi., 138) "performed sundry 
 tunes on the Fiddle and French Horn" in Alsatia ; and that 
 Counsellor Pleydell, on the eventful night in " Guy Mannering " 
 (chap. xlix. 255) being a "member of the gentlemen's concert 
 in Edinburgh," was performing some of Scarlatti's sonatas 
 with great brilliancy upon the Violoncello to Julia's accompani- 
 ment upon the harpsichord ? 
 
 " Busts, cameos, gems such things as these 
 
 Which others often show for pride, 
 I value for their power to please 
 
 And selfish churls deride; 
 One Stradivarius, I confess. 
 
 Two meerschaums, I would fain possess." 
 Extract from Oliver Wendell Holmes' Lines on Contentment. 
 
 The "Monthly Mirror," of March, 1800, says that 
 Gainsborough, the great painter, was a famous player on Violin 
 and Violoncello, then called Viol-di-gamba ; and that Abel, the 
 
ANECDOTES. 175 
 
 chief Bass-player composed a fugue expressly for Gainsborough. 
 The same periodical suggests that the high notes of the Violin 
 are neither pleasant nor certain ; the Fiddle, it thinks, should 
 be only played in lower keys ! In fact it is Queen Elizabeth's 
 answer to Sir W. Raleigh's 
 
 " Fain would I climb but that I fear to fall." 
 " If thy heart fail thee do not clirib at all." 
 
 TO A BAD FIDDLER. 
 
 " Old Orpheus play'd so well he mov'd old Nick, 
 Whilst thou mov'st nothing but thy Fiddlestick." 
 
 Corelli's Violin was made in 1578, and passed into the 
 possession of Giardini ; it was kept in a case painted by 
 Annibale Caracci. 
 
 ON THE TREATMENT OF THE VIOLIN. 
 In a letter front the celebrated Tartini. 
 
 "The letter here presented to our readers was published 
 by Dr. Burney, in 1779, under the following title: 'A Letter 
 from the late Signer Tartini to Signora Maddalena Lombardini 
 (afterwards Signora Sirmen). Published as an important lesson 
 to performers on the Violin. Translated by Dr. Burney.' This 
 little tract having become scarce, and its practical value to the 
 artist coming recommended to us by so high a name, we have 
 been induced to reprint it in our journal. 
 
 " 'A letter, &c., 
 
 " ' Padua, March 5, 1760. 
 " ' My very much esteemed Signora Maddalena, 
 
 " ' Finding myself at length disengaged from the weighty 
 business which has so long prevented me from performing my 
 promise to you, a promise which was made with too much 
 sincerity for my want of punctuality not to afflict me, I shall 
 begin the instructions you wish from me, by letter ; and if I 
 should not explain myself with sufficient clearness, I entreat 
 you to tell me your doubts and difficulties, in writing, which I 
 shall not fail to remove in a future letter. 
 
 " ' Your principal practice and study should, at present, be 
 confined to the use and power of the bow, in order to make 
 yourself entirely mistress in the execution and expression of 
 whatever can be played or sung, within the compass and ability 
 of your instrument. Your first study, thereiore, should be the 
 true manner of holding, balancing, and pressing the bow lightly, 
 but steadily, upon the strings ; in such a manner as it shall 
 
J7 6 THE VIOLIN. 
 
 i 
 
 seem to breathe the first tone it gives, which must proceed 
 from the friction of the string, and not from percussion, as by 
 a blow given with a hammer upon it. This depends on laying 
 the bow lightly upon the strings at the first contact, and on 
 gently pressing it afterwards, which, if done gradually, can 
 scarcely have too much force given to it, because, if the tone 
 is begun with delicacy, there is little danger of rendering it 
 afterwards either coarse or harsh. 
 
 " ' Of this first contact and delicate manner of beginning a 
 tone you should make yourself a perfect mistress in every 
 situation and part of the bow, as well in the middle as at the 
 extremities ; and in moving it up as well as in drawing it down. 
 To unite all these laborious particulars into one lesson, my 
 advice is, that you first exercise yourself in a swell upon an 
 open string, for example, upon the second string ; that you 
 begin pianissimo, and increase the tone by slow degrees to its 
 fortissimo ; and this study should be equally made with the 
 motion of the bow up and down, in which exercise you should 
 spend at least an hour every day, though at different times, a 
 little in the morning and a little in the evening; having con- 
 stantly in mind, that this is, of all others, the most difficult and 
 the most essential to playing on the Violin. When you are a 
 perfect mistress of this part of a good performer, a swell will 
 be very easy to you ; beginning with the most minute softness, 
 increasing the tone to its loudest degree, and diminishing it to 
 the same point of softness with which you began, and all this 
 in the same stroke of the bow. Every degree of pressure upon 
 the string which the expression of a note or passage shall 
 require will by this means be easy and certain ; and you will be 
 able to execute with your bow whatever you please. After 
 this, in order to acquire that light pulsation and play of the 
 wrist, from whence velocity in bowing arises, it will be best for 
 you to practise every day one of the Allegros, of which there 
 are three in Corelli's solos, which entirely move in semiquavers. 
 The first is in D, in playing which you should accelerate the 
 motion a little each time, till you arrive at the quickest degree 
 of swiftness possible ; but two precautions are necessary in this 
 exercise the first is that you play the notes staccato, that is, 
 separate and detached, with a very little space between every 
 two, they should be played as if there was a rest after every 
 note. The second precaution is, that you first play with the 
 point of the bow ; and when that becomes easy to you, that 
 you use that part of it which is between the point and the 
 midddle ; and when you are likewise mistress of this part of 
 the bow, that you practise in the same manner with the middle 
 of the bow ; and above all, you must remember in these studies 
 to begin the Allegros or flights sometimes with an up-bow, and 
 sometimes with a down-bow, carefully avoiding the habit of 
 constantly practising one way. In order to acquire a greater 
 
ANECDOTES. 777 
 
 facility of executing a swift passage in a light and neat manner, 
 it will be of great use to you if you accustom yourself to skip 
 over a string between two quick notes in divisions. Of such 
 divisions ycu may play extempore as many as possible, and in 
 every key, which will be both useful and necessary. 
 
 " 'With regard to the finger-board, or carriage of the left 
 hand, I have one thing strongly to recommend to you, which 
 will suffice for all ; and that is, the taking of a Violin part, either 
 the first or second of a concerto, sonata, or song anything will 
 serve the purpose and playing it upon the half-shift, that is, 
 with the first finger upon G on the first string, and constantly 
 keeping upon this shift, playing the whole piece without mov- 
 ing the hand from this situation, unless A on the fourth string 
 be wanted, or D upon the first ; but in that case, you should 
 afterwards return again on the half-shift, without ever moving 
 the hand down to the natural position. This practice should 
 be continued till you can execute with facility upon the half- 
 shift any Violin part not intended as a solo, at sight. After this 
 advance the hand on the finger-board to the whole-shift with 
 the first finger upon A on the first string, and accustom your- 
 self to this position till you can execute everything upon the 
 whole-shift with as much ease as when the hand is in its natural 
 situation ; and when certain of this, advance to the double- 
 shift, with the first finger upon B, on the first string ; and when 
 sure of that likewise, pass to the fourth position of the hand, 
 making C with the first finger upon the first string ; and indeed 
 this is a scale in which, when you are firm, you may be said to 
 be a mistress of the finger-board. This study is so necessary, 
 that I most earnestly recommend it to your attention. 
 
 " ' I now pass to the third essential part of a good performer 
 on the Violin, which is the making of a good shake, and I 
 would have you practise it slow, moderately fast, and quick ; 
 that is, with the two notes succeeding each other in these three 
 degrees of adagio, andante, and presto ; and in practice you 
 have great occasion for these different kind of shakes ; for the 
 same shake will not serve with equal propriety for a slow move- 
 ment as for a quick one ; but to acquire both at once with the 
 same trouble, begin with an open string, either the first or 
 second, it will be equally useful ; sustain the note in a swell, 
 and begin the shake very slow increasing in quickness, by in- 
 sensible degrees, till it becomes rapid. But you must not vig- 
 orously move immediately from semiquavers to demisemiqua- 
 vers, as in this example, or from these to the next in degree 
 that would be doubling the velocity of the shake all at once, 
 which would be a skip, not a graduation ; but you can imagine 
 between a semiquaver and demisemiquaver intermediate de- 
 grees of rapidity, quicker than the one, and slower than the 
 other of these characters ; you are therefore to increase in 
 velocity by the same degrees in practising the shake, as in 
 
j 7 8 THE VIOLIN. 
 
 loudness when you make a swell. You must attentively and 
 assiduously persevere in the, practice of this embellishment, 
 and begin at first with an open string, upon which if you are 
 once able to make a good shake with the first finger, you will 
 with the greater facility acquire one with the second, the third 
 and the fourth, or little finger, with which you must practise in 
 a particular manner, as more feeble than the rest of its brethren. 
 I shall, at present, propose no other studies to your application ; 
 what I have already said is more than sufficient, if your zeal is 
 equal to my wishes, for your improvement. I hope you will 
 sincerely inform me whether I have explained myself clearly 
 thus far ; that you will accept of my respects, which I likewise 
 beg of you to present to the Prioress, to Signora Teresa and to 
 Signora Chiara, for all whom I have a sincere regard ; and 
 believe me to be, with great affection, 
 
 "'Your obedient and most humble servant, 
 
 "GIUSEPPE TARTINI.'" 
 "The Harmonicon." 
 
INDKX. 
 
 Absam, Thomas 88 
 
 Acevo 25 
 
 Adams 83 
 
 Addison, William 88 
 
 Aireton, Edward 88 
 
 Albanesi, Sebastianus 25 
 
 Albani, Matthias Botzen 25 
 
 Albani, Matthias (i.) 108 
 
 Albani, Matthias (ii.) 108 
 
 Albani, Paolo 25 
 
 Albani 108 
 
 Aldric 75 
 
 Aldred 88 
 
 Aletzie, Paolo 25 
 
 Alletsee, P 108 
 
 Alvani 25 
 
 Amati, Andrew 25 
 
 Amati, Antonius and Hieronymus.... 26 
 
 Amati, Nicholas 26 
 
 Amati, Nicholas 27 
 
 Amati, Hieronymus 30 
 
 Amateur, A Royal 163 
 
 Ambrogi, Pietro 30 
 
 Anecdotes and Miscellanea 149 
 
 Ansel mo 30 
 
 Artistic Enthusiasm 166 
 
 Artmann 108 
 
 Askey, Samuel 88 
 
 Assalone, Gaspard 30 
 
 B 
 
 Bachmann 108 
 
 Bad Fiddler, To a 175 
 
 Bagatella 30 
 
 Baines 88 
 
 Baker 88 
 
 Balestrieri, Peter 30 
 
 Balestrieri, Thomas 30 
 
 Ballantine.... 88 
 
 Baltazarina 134 
 
 Banks, Benjamin 88 
 
 Banks, James 90 
 
 Barnes, Robert 90 
 
 Barrett, John 90 
 
 Barton, George 90 
 
 Bass, The Double 3,6 
 
 Bass Viol 3 
 
 Bauche 108 
 
 Beckman 108 
 
 Bellosio 31 
 
 Benoit 75 
 
 Bente, Matteo 31 
 
 PAGB 
 
 Bergonzi, Carlo 31 
 
 Bergonzi, Michael Angelo 33 
 
 Bergonzi, son of M. Angelo 33 
 
 Bergonzi, Nicholas 33 
 
 Bernadel 75 
 
 Berroit 75 
 
 Bertrand , 75 
 
 " Belts Stradiuarius" 160 
 
 Belts, Edward 90 
 
 Belts, John 90 
 
 Binternagle 108 
 
 Bocquay, Jacques 75 
 
 Holies 91 
 
 Booth, William 91 
 
 Booth 91 
 
 " Borax" and "Mr. Schnapps" 169 
 
 Borelli, Andreas 33 
 
 Borvin, Claude 75 
 
 Boucher 91 
 
 Boullangier 75 
 
 Bourdat, Sebastian 75 
 
 Bow, The i 
 
 Bremeister, J 108 
 
 Brescia 5, 19 
 
 Breton, Le 75 
 
 Bridge, The 9 
 
 Brit ton 136 
 
 Brown, James 91 
 
 Brown, James 91 
 
 Buchstadter loj 
 
 Budiani, Javiella 34 
 
 Cahusac 91 
 
 Camilas, Camile de 34 
 
 Cappa, Giofreda 34 
 
 Carter, John 91 
 
 Cassino, Antonius 94 
 
 Caslagnery, Andrea 76 
 
 Castagnery 75 
 
 Castagnery, Jean Paul 76 
 
 Castro 34 
 
 Celionalus, Johannes 35 
 
 Challoner, Thomas 91 
 
 Chanot, Georges 76 
 
 Chanot, George 76 
 
 Chanot 76 
 
 Chapuy, Auguslinus 76 
 
 Charles II., his band of twenty-four 
 
 Violins 136 
 
 Cherulli 35 
 
 Chesterfield, Lord, his diclum on 
 
 Fiddling 140 
 
 Chevrier 76 
 
 ('79) 
 
i8o 
 
 INDEX. 
 
 PAGE. 
 
 Christa, Joseph Paul log 
 
 Christophori, Bartolomeo 35 
 
 Cinderella Violoncello 154 
 
 Circapa, Thomaso 35 
 
 Clark oi 
 
 Claudot, Charles 76 
 
 Cole, James 91 
 
 Cole, Thomas 91 
 
 Collier, Samuel 91 
 
 Collier, Thomas 91 
 
 Collingwood, Joseph 91 
 
 Contreras, Joseph 35 
 
 Conway, William 91 
 
 Corelli 135 
 
 Corsby 91 
 
 Corsby, George 91 
 
 Costa, Pietro della 35 
 
 Coussemaker 1,2 
 
 Cramond, Charles 91 
 
 Crask, George 91 
 
 Cremonese Masters 6 
 
 Cross, Nathaniel 91 
 
 Crowther, John 91 
 
 Crwth, The i 
 
 Cuni 76 
 
 Cuthbert 91 
 
 Cythara i 
 
 D 
 
 Darche 109 
 
 Dardelli, Pietro 35 
 
 David -. 76 
 
 Davidson 91 
 
 Davis, Richard 91 
 
 Davis, William 91 
 
 Dearlove, Mark 91 
 
 De Comble, Ambroise 76 
 
 Delany, John 92 
 
 Dennis, Jesse 92 
 
 Despont, Antoine 77 
 
 " Devil's Sonata," Origin of 
 
 Tartini's 167 
 
 Dickenson, Edward 92 
 
 Dickenson, John 92 
 
 Diehl 109 
 
 Diehl, Nicholas 109 
 
 Ditton 92 
 
 Dodd, Thomas (i ) 92 
 
 Dodd, Thomas (ii.) 93 
 
 "Dolphin," The Stradiuarius 68 
 
 Dominicelli 35 
 
 Dorant, William 93 
 
 Dragonetti, Domenico 158 
 
 Duiffoprugcar, Gaspard 35 
 
 Duke, Richard (i.) 93 
 
 Duke, Richard (ii.) 94 
 
 Duncan 94 
 
 Durfel 109 
 
 Earliest Makers of 
 
 English School 
 
 French School 
 
 German School 
 
 Italian School 
 
 72 
 
 106 
 
 PAGE. 
 
 Kberle, Jean Ulric 109 
 
 Eberti, Tomasso 36 
 
 Edhnger 109 
 
 Kdlinger, Joseph Joachim 109 
 
 Eglington 94 
 
 " Elector Stainers" 114 
 
 Elsler. Joseph 100 
 
 English Makers 88 
 
 English School, The 83 
 
 English Strings ii 
 
 Enthusiasm, Artistic 166 
 
 Ernst, Francois H 109 
 
 Ettrick Shepherd and the Violin 168 
 
 Evans, Richard 94 
 
 Falaise 77 
 
 Falco 36 
 
 Farinato, Paul 36 
 
 Febbre 109 
 
 Fendt 77 
 
 Fendt, Bernard 94 
 
 Fendt, Bernard Simon 95 
 
 Fendt, Francis 96 
 
 Fendt, Jacob 95 
 
 Fendt, Martin 95 
 
 Fendt, William 96 
 
 Ferguson, Donald 96 
 
 Fichtold, Hans 109 
 
 Fichtold, Martinus 109 
 
 Ficker 109 
 
 Ficker, Johann C 36 
 
 Ficker, Johann Christian ....109 
 
 Fiddle Marks 151 
 
 Fiddler, To a Bad 175 
 
 Fiddle shot through the body 151 
 
 Fiddle Trade, The 169 
 
 Findlay, James 96 
 
 Fiorillo, Giovanni 36 
 
 Firth ? 9 6 
 
 Fischer, Zacharie 109 
 
 Fleury, Benoist 77 
 
 Florentus, Florinus 36 
 
 Forster, Simon Andrew 97 
 
 Forster, William fi.) 96 
 
 Forster, William (ii.) 96 
 
 Forster, William (iii.) 97 
 
 Forster, William (iv ) 97 
 
 Fourrier, Nicholas 77 
 
 Frankland 98 
 
 French Makers 75 
 
 French School 72 
 
 French Strings ii 
 
 Frey, Hans 109 
 
 Fritsche, Samuel 109 
 
 Fritz, Hans 109 
 
 Furber 98 
 
 Gabrielli, Giovanni Baptista 36 
 
 Gaetano, Antomozzio 36 
 
 Gaetano, Pasto 36 
 
 Galliano, Alessandro 36 
 
 Gagliano, Nicholas 37 
 
INDEX. 
 
 i8r 
 
 PAGE. 
 
 Gagliano, Ferdinandus 37 
 
 Gagliano, Januarius 37 
 
 Gagliano, Ferdinandus 37 
 
 Gagliano, Giuseppe 37 
 
 Gagliano, Giovanni 37 
 
 Gagliano, Antonio 37 
 
 Gagliano, Raphael 37 
 
 Galbusera, C. A 109 
 
 Galerzena 37 
 
 Gand, Eugene 77 
 
 Gand 77 
 
 Gand, Francois 77 
 
 Garani, Michael Angelo 37 
 
 Garani, Nicolo 38 
 
 Gaspard di Salo 57 
 
 Gattanani 38 
 
 Gavinies 77 
 
 Gedler, Johann Antony 109 
 
 Gedler, Johann Benedict 109 
 
 "George Eliot" on Stradiuarius 66 
 
 George IV. and Haydn 167 
 
 Gerle, Jean 109 
 
 German Makers 108 
 
 German School 106 
 
 German Strings n 
 
 Gibbs, James 98 
 
 Gilkes, Samuel 98 
 
 Gilkes, William 98 
 
 Giordane 38 
 
 Gobetti, Franciscus 38 
 
 Gofriller, Francisco 39 
 
 Gofriller, Matteo 38 
 
 Gough, Walter 98 
 
 Gragnani, Antonius 39 
 
 Grancino, Francisco 39 
 
 Grancino, Giovanni 39 
 
 Grancino, Giovanni Baptista 39 
 
 Grancino, Paolo 39 
 
 "Grand Amati" 29 
 
 Griam 109 
 
 Grobitz 109 
 
 Grosset Paul 78 
 
 Guadagnini, Lorenzo 39 
 
 Guadagnini, Johannes Baptista 40 
 
 Guadagnini, Giovanni Battista 41 
 
 Guadagnini, Giuseppe 41 
 
 Guadagnini of Milan 41 
 
 Guadagnini of Turin 41 
 
 Guarnerius, Andreas 41 
 
 Guarnerius, Joseph, son of Andrea. 42 
 
 Guarnerius, Joseph Anthony 43 
 
 Guarnerius, Petrus (i.) 43 
 
 Guarnerius, Petrus (ii.) 43 
 
 "Guarnerius" at a Discount 156 
 
 Guersan, Louis 78 
 
 Gugemmos 109 
 
 Guidantus, Giovanni F 50 
 
 Guletto 50 
 
 H 
 
 Hamberger, Joseph 109 
 
 Hamm, Johann Gottfried 109 
 
 Hansel, John Anthony no 
 
 Hardie, Matthew 98 
 
 Hardie, Thomas 98 
 
 nuaenrant, juic 
 Hill, Joseph (i.) 
 Hill, Joseph (ii. 
 Hill, Lockey.... 
 
 PAGE. 
 
 Hare, Joseph 98 
 
 Harham 98 
 
 Harris, Charles 98 
 
 Hart, John Thomas 99 
 
 Hassert (i.) no 
 
 Hassert (ii.) no 
 
 Haydn and George IV 167 
 
 Heesom, Edward 99 
 
 Helmore, Charles no 
 
 Hildebrant, Michael C 110 
 
 .) 100 
 
 ii.) 100 
 
 100 
 
 Hill, William 100 
 
 Hill, W. E 100 
 
 Hillmer 110 
 
 Hoffmann, Martin ;...no 
 
 Holloway, J 100 
 
 Holmes-, Oliver Wendell, on the Old 
 
 Masters 174 
 
 Hornstainer, Matthias no 
 
 House of Stradiuarius 63 
 
 Hiiller, Augustine no 
 
 Hume, Richard too 
 
 Htimel, Christian no 
 
 Hunger, Christopher F no 
 
 I 
 
 Italian Instruments, introduction 
 
 into Great Britain 118 
 
 Italian Makers 35 
 
 Italian School 15 
 
 Italian Strings ii 
 
 Italian Varnish 21 
 
 acobi no 
 
 acobs (i.) no 
 
 acobs (ii.) no 
 
 aye, .Henry too 
 
 ay, Henry 100 
 
 ay, Thomas 100 
 
 enkins, John 136 
 
 ohnson, Dr., and the Violin 164 
 
 ohnson, John 100 
 
 Jonson, Ben, on the " Crowd" 2 
 
 Juliano, Francisco 50 
 
 K 
 
 Kambl, Johann C no 
 
 Kennedy, Alex 100 
 
 Kennedy, John 101 
 
 Kennedy, Thomas 101 
 
 Kerlino , 50 
 
 Kiaposse no 
 
 Kirschschlag no 
 
 Klotz, Joseph in 
 
 Kloz, Egitia in 
 
 Kloz, George in 
 
 Kloz, Matthias in 
 
 Kloz, Sebastian in 
 
 Knitl, Joseph in 
 
J82 
 
 INDEX. 
 
 PAGE. 
 
 Knitting 
 
 Kohl, Jean _ 
 
 Kolditz, Matthias J 
 
 Koliker 
 
 Kriner, Joseph 
 
 Lagetto 78 
 
 Lambert 78 
 
 Landulphus, Carolus 50 
 
 Lansa, Antonio M 51 
 
 Lecler 78 
 
 Leigh Hunt on Paganini 161 
 
 Lentz, Johann N 101 
 
 Lewis, Edward 101 
 
 Lidl, Antoinie in 
 
 Linarolli 51 
 
 Linings 8 
 
 Living Stradiuariuses 153 
 
 Loly, Jacovo 51 
 
 Longfellow on Stradiuarius 63 
 
 Lott, John F 101 
 
 Lott, George F 101 
 
 Lott, John F 101 
 
 Louis 78 
 
 Louvet 78 
 
 Lupot, Francois 78 
 
 Lupot, Nicholas 78 
 
 Lute i 
 
 Lyre i 
 
 M 
 
 Macintosh 101 
 
 Maggini, Giovanni P 51 
 
 Maggini, Pietro 52 
 
 Maier, Andrea F in 
 
 Maldonner in 
 
 Mansiell in 
 
 Mantegatia, Petrus Johannes 52 
 
 Marratti, C. B .' 52 
 
 Mariani, Antonio 52 
 
 Marshall, John 101 
 
 Martin 101 
 
 Mayer, Andrea F in 
 
 Medard, Franciscus 79 
 
 Medard, Jean 79 
 
 Medard, Nicholas 79 
 
 Medical View of Violins 164 
 
 Meusidler, Jean in 
 
 Mezzadie 59 
 
 Mier 101 
 
 " Mighty Venetian," The 52 
 
 Millar, Alexander 102 
 
 Mirecourt and its " copies" 74 
 
 Miremont 79 
 
 Missing Scroll, The 149 
 
 Modessier 80 
 
 Mohr, Philip in 
 
 Monday Popular Concerts 144 
 
 Montade, Gregory 52 
 
 Montaenana, Dominicus 52 
 
 Morella, Morgato 54 
 
 Morrison, John 102 
 
 J'AGB. 
 
 Motto on a Cremona 174 
 
 Muller 54 
 
 Murdoch, Alex. 
 
 Musical Union, The 144 
 
 Musician, A 166 
 
 Musicians, Royal Society of. 142 
 
 N 
 
 Namy 80 
 
 Nay lor 102 
 
 Neck of the Violin 9 
 
 Nicholas 80 
 
 Niggel 80 
 
 Norboni, John 102 
 
 Norman, Barak 102 
 
 Norris, John 102 
 
 Nut, The , ... 10 
 
 O 
 
 Ohberg, J jhann in 
 
 Orchestral Music, Thackeray on 162 
 
 " Orfeo de Monteferde" 134 
 
 Orpheus i 
 
 Ott, Jean in 
 
 Otto '. in 
 
 Otto, Jacob Augustus in 
 
 Ouvrard 80 
 
 Paganini and Guarnerius del Jesii...i2o 
 
 Paganini, Leigh Hunt on 161 
 
 Painful Operation, A 155 
 
 Pamphilon, Edward 103 
 
 Panormo, Vicenzo 54 
 
 Panormo, George Lewis 103 
 
 Panormo, Joseph 103 
 
 Panormo, Louis 103 
 
 Panormo, Vincent 103 
 
 Pansani 55 
 
 Parker, Daniel 103 
 
 Parth, Andreas N in 
 
 Pasta, Gaetano 56 
 
 Paul, Saint 
 
 Pearce, James 103 
 
 Pemberton, Edward 103 
 
 Perry and Wilkinson 103 
 
 Pfretzschner, Carl F in 
 
 Pfretzschner, Gotlob. 
 
 " Philharmonic," The 142 
 
 Pichol 80 
 
 Picino 56 
 
 Piecings in works of Old Masters.... 7 
 
 Pierrot 80 
 
 Pierray, Claude 80 
 
 Piete, Noel 50 
 
 Piqne 80 
 
 Plack, F.... ....in 
 
 Plainer, Michael in 
 
 " Pleasures of Imagination" 159 
 
 Pons ... 81 
 
 Pope Pius IX. and the Musician 164 
 
 Possen, Lauscrim 112 
 
INDEX. 
 
 183 
 
 PAGE. 
 
 Powell, Thomas 103 
 
 Preston, John 103 
 
 " Prison Fiddles" 47, 49 
 
 Progress of the Violin, Sketch of... ..133 
 Purflingof Amati 27 
 
 Quack Violin Doctors 10 
 
 Ouartett Association, The 144 
 
 Quick recovery of a Stolen Tenor.. ..153 
 Quinte, The 3 
 
 R 
 
 Racceris 56 
 
 Raf. 112 
 
 Rambeaux 81 
 
 Rambouts, Peter 112 
 
 Rant 81 
 
 Raphael, Nella 56 
 
 Rauch, Jacques 
 
 Rauch, Sebastian 
 
 Rauch 
 
 Rayman, Jacob 
 
 Reade, Charles, and Louis Tarisio.. 
 
 04 
 25 
 
 Rebeci The '. 2 
 
 Reichel, Johann C 112 
 
 Reggieri 56 
 
 Reichel, Johann G 112 
 
 Reinault 81 
 
 Remy 81 
 
 Renisto 56 
 
 Repairers, pretended 10 
 
 " Romance of Fiddle dealing" 124 
 
 Rook, Joseph 104 
 
 Ross (i.) 104 
 
 Ross (ii.) 104 
 
 Roth. Christian 112 
 
 Rovelli 56 
 
 Royal Amateur, A 163 
 
 Royal Academy of Music 143 
 
 Rudger 56 
 
 Rugerius, Guido 56 
 
 Rugerius, Johannes Baptiste 56 
 
 Rugerius, Pietro Giacomo 57 
 
 Rugerius, Vicenzo 57 
 
 Ruggerius, Franciscus 56 
 
 Ruppert, Francis 112 
 
 Sackbut and Trombone 133 
 
 Salle 81 
 
 Salo, Gaspard di 57 
 
 Saloman 143 
 
 Salzar 81 
 
 Sancti, Giovanni 59 
 
 Sanctus Seraphino 59 
 
 Sanoni, Giovanni 59 
 
 Sanzo 59 
 
 Sapino.... 59 
 
 Saunier 81 
 
 Scheinlein, Jean Michael 112 
 
 Scheinlein, Matthias F 112 
 
 PAGE. 
 
 Schlick i 
 
 Schmidt i 
 
 Schonger, Francis i 
 
 Schonger, George i 
 
 Schorn, Jacob i 
 
 Schorn, Johann i 
 
 Schott, Martin i 
 
 Scroll, The Missing 149 
 
 Shaw 104 
 
 Simpson, John 104 
 
 "Slab Back," The 6 
 
 "Small-Coal Man," Thomas Britton.i36 
 
 Smith, Henry 104 
 
 Smith, Thomas 104 
 
 Smith, William 104 
 
 "Sonata del Diavolo," Tartini's 167 
 
 Soquer, Louis 81 
 
 Sound-bar, The.. 
 
 Sound-post 8 
 
 South Kensington Museum 2 
 
 Speller 112 
 
 Spohr, and his "Guarnerius" 167 
 
 Stainer, Jacob.... 112 
 
 Statelman, Daniel iis 
 
 Statelman, Johann J 115 
 
 Stew-pans, Lully and the 135 
 
 Stolen "Strad," A 152 
 
 Stolen Tenor 153 
 
 Storioni, Laurentius 59 
 
 "Strad," The Long 65 
 
 Stradiuarius, Antonius 60 
 
 Stradiuarius, Franciscus 70 
 
 Stradiuarius, Omobono 70 
 
 Stradiuariuses, Living 153 
 
 Stradiuarius, Belts' 160 
 
 Straube 115 
 
 Strauss, Joseph 115 
 
 Strir 
 
 Sursano, Spiritus 70 
 
 Sylvestre 81 
 
 Tarisio, Louis 122 
 
 Taylor 104 
 
 Techier, David 70 
 
 Testore, Carlo Giuseppe 70 
 
 Testore, Carlo Antonio 71 
 
 Testore, Paolo Antonio 71 
 
 Thackeray on Orchestral Music 162 
 
 Theress 81 
 
 Thibout 8x 
 
 Thompson, Robert 104 
 
 Thorowgood, Henry 105 
 
 Tintoret and the Violin 133 
 
 Titian and the Violin 133 
 
 Tobin, Richard (i.) 105 
 
 Tobin, Richard (ii.) 105 
 
 Tomb of Stradiuarius 61 
 
 Tononi, Felice 7' 
 
 Tononi, Carlo Antonio 71 
 
 Tononi, Giovanni 7 1 
 
 Tononi, Guido 7* 
 
 Tortobello 7' 
 
 Tywersus 8a 
 
184 
 
 u 
 
 Union, The Musical 
 
 INI 
 
 PAGE. 
 
 ">EX. 
 
 Vuillaume, N. F 
 
 PAGE. 
 
 82 
 
 W 
 Wagner, Joseph 
 
 15 
 
 Urquhart 
 
 
 V 
 Vaillot 
 Valentine. William 
 Valler 
 
 82 
 105 
 82 
 
 Walmsley, Peter 
 
 05 
 
 Wandering Scroll, The 
 Weickert 
 Weiss, Jacob 
 Wenger, G. F 
 
 5 
 '5 
 15 
 15 
 
 Veron 
 Vettrini 
 Vibrecht, Gysbert 
 Vielle.The 
 
 82 
 71 
 
 "5 
 
 Y 
 
 '5 
 '5 
 05 
 
 Viol da Gamba 
 
 
 Viol d' Amour, The 
 
 3 
 
 Vimercati, Paolo 
 Vogel, Wolfgang 
 
 7 1 
 115 
 
 Z 
 Zanetto, Peregrine 
 
 7' 
 71 
 
 Vogler, Johann George. ... 
 
 
 Vuillaume, John 
 
 82 
 ... 82 
 
tiese