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Title: The Violin
Its Famous Makers and Their Imitators
Author: George Hart
Release Date: July 1, 2007 [EBook #21982]
Language: English
*** START OF THIS PROJECT GUTENBERG EBOOK THE VIOLIN ***
Produced by Ron Swanson
[_Frontispiece_: PAGANINI'S GIUSEPPE GUARNERI. Date 1743. (IN THE
MUNICIPAL PALACE, GENOA.)]
THE VIOLIN
ITS FAMOUS MAKERS AND THEIR IMITATORS
BY
GEORGE HART
WITH
_NUMEROUS WOOD ENGRAVINGS FROM PHOTOGRAPHS OF THE WORKS OF STRADIVARI,
GUARNERI, AMATI, AND OTHERS, AND ADDITIONS AND EMENDATIONS BY THE
AUTHOR'S SON AND TOWRY PIPER_
"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. GLADSTONE.
LONDON
DULAU AND CO., LIMITED, 37, SOHO SQUARE, W.
SCHOTT AND CO., 159, REGENT STREET.
1909
[_All rights reserved._]
PREFACE TO THE ENLARGED AND REVISED EDITION
The favourable reception accorded to the previous editions of this
work has not only added greatly to the pleasure attending the
preparation of a new and revised edition, but has encouraged me to
spare no effort within my power to render the volume as interesting
and complete as possible. In making these endeavours, the bulk of the
book has been necessarily increased by additional information, spread
over all the sections of the work, but chiefly on those which treat of
the Early History of the leading instrument, and the Italian branches
of the subject.
It is in connection with the Italian divisions of the book that the
reader will discover, I venture to hope, information which he will
regard as interesting in its character, besides being of some
historical value. The greater part of this new matter has been
obtained from original MSS. belonging to the trustees of the Civic
Museum at Cremona, which Institution is located in the palace
bequeathed to the citizens, together with its contents, by the
Marchese Ponzoni. In the year 1872, Dr. F. Robolotti, the learned
historiographer of the town, and a distinguished physician, and the
Marchese Senatore Araldi Erizzo, presented to the Institution referred
to an important collection of rare books and documents illustrative of
the history of the City of Cremona. Among these are two sets of MSS.,
numbered respectively 729 and 431, the contents of which shed much
light on the Italian sections of our subject, and constitute the
source of the principal portion of the additional information
contained in the following pages. The first-named MS. is the work of
Don Desiderio Arisi, a monk of the order of St. Jerome, who in the
quiet of his cell in the Convent of St. Sigismondo set himself the
task of writing brief notices of Cremonese worthies. The MS. is dated
1720, and includes a most interesting account of the patronage enjoyed
by Antonio Stradivari, together with several items of information of
more or less worth, relative to the famous Violin-maker. In passing,
it may be mentioned that Don Desiderio Arisi was intimate with
Stradivari, and gained his knowledge of the facts he recorded from the
artist himself. The second-named MSS., from which extracts have been
made, are dated 1823. These contain references to the principal makers
of Cremona, combined with critical remarks on their works from the pen
of Vincenzo Lancetti, a Cremonese poet and biographer. The information
contained in these MSS. was chiefly received from Count Cozio di
Salabue in the course of correspondence between him and Lancetti.
Nearly the whole of the extracts to which the reader's attention has
been directed were given to me as far back as the year 1875, when the
original edition of this work was in the press. Finding it impossible
to make adequate use of them, in consequence of the volume being
partly printed, I decided to insert a few items at the end of the
notice of Antonio Stradivari, and to hold over the remainder in order
to distribute the information among the notices of the several makers
in a future edition.
I am indebted for the knowledge of the existence of the Arisi and
Lancetti MSS., and for their contents, to my friend Signor Federico
Sacchi,[1] who during his researches among the Robolotti collection
had free access to all the original documents, and whose family has
long lived near the house occupied by Stradivari. With these
advantages, it is almost needless to remark that my friend possessed
ample means of aiding me in my endeavours to learn much concerning the
makers of his native city. Taking as he does a deep and enthusiastic
interest in the past history of Cremonese art, he spared no effort to
obtain for me all the information possible. To him I am also indebted
for the contents of the correspondence relative to the purchase, by
Count Cozio di Salabue, of the tools used by Antonio Stradivari, and
for the same having been placed at my disposal by the Marquis dalla
Valle. In making these acknowledgments, I desire to tender Signor
Sacchi my warmest thanks for the interest he has taken in my
undertaking.[2]
[Footnote 1: Signor Sacchi is the author of--
1. "Cenni sulla vita e le opere di Agostino Aglio pittor Cremonese."
Cremona, 1868. 8vo.
2. "Notizie pittoriche Cremonesi." Cremona, 1872. 4to.
3. "I Tipografi Ebrei di Soncino." Cremona, 1877. 4to.
4. "Annali Tipografici della Cittae provincia di Cremona,"
and many other memoirs on Cremonese printers and painters.]
[Footnote 2: Signor Sacchi died in 1902.--ED.]
The Section containing the Anecdotes has been recruited by additional
Miscellanea, including "Hudibras and the Champion Crowdero." In
placing this piece of wit and humour before my readers, I have
endeavoured to do so in a form as connected as possible, by the
selection of passages likely to conduce to that end, without
trespassing too much on space, and on the reader's patience.
I am indebted to Mr. G. D. Bishopp for the table containing the amount
of tension of Violin strings, and their downward pressure. The
information therein contained will doubtless be acceptable to many of
my readers.
I owe to M. le Chevalier Kraus, of Florence, the pleasure of including
among the engravings those of the instruments made by Antonio
Stradivari for the Grand Duke of Florence, he having obtained for me
the necessary photographs.
In conclusion, I have to thank my young friend Mr. Allan Fea for the
two illustrations forming the head and tail pieces to "Hudibras and
the Champion Crowdero."
28, _Wardour Street, London_, 1884.
PREFATORY NOTE BY THE EDITORS
Pending the completion of a more costly revised version of the late
Mr. Hart's work, the editors, in compliance with what seems to be a
widespread public desire, have decided to reprint the volume, as
issued in popular form and finally corrected by the author in 1887,
but with additions and certain emendations desirable in order to bring
it into accord with the present state of knowledge, and to enhance its
value as a work of reference. To this end the names of a considerable
number of makers, either unknown at the time, or not deemed of
sufficient prominence for insertion in the edition of 1887, have been
incorporated in the text, together with particulars of the distinctive
features of their work; and the notices relating to others have, where
needful, been modified or recast. In other respects the book remains
substantially as the author left it.
28 _Wardour Street_
_November_, 1909.
CONTENTS
SECTION I.--THE EARLY HISTORY OF THE VIOLIN.
PAGE
1.--General observations--Early History involved in obscurity and
vague conjecture--Jubal, Orpheus, and Apollo--Views of Early
Historians of Music, as to Asiatic and Scandinavian origin
respectively--Ravanon, King of Ceylon, and the
"Ravanastron"--Researches of Sanscrit Scholars--Suggested Arabian
origin of the Ribeca, or Rebec, and the Rehab of the Moors--Early
Egyptian instruments--Moorish musical influence in Spain--The
Troubadours and Trouveres in Northern France, and the Gigeours of
Germany . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-11
2.--Early evidence of Bowed Instruments in the north of
Europe--Presumed Scandinavian origin of the German Geige--The Hon.
Roger North's "Memoirs of Music"--Martinus Gerbertus, his "De Cantu et
Musica Sacra"--Paul Lacroix' "Arts of the Middle Ages"--Earliest known
representations of Bowed Instruments, sixth to ninth century--The
Manuscript of St. Blasius--The Cheli or Chelys--Saxon Fiddle in the
Cottonian Manuscripts, and in Strutt's "Sports and Pastimes"--The
early Saxons' love of Music--The Saxon Fithele in the time of the
Norman Conquest--The Geige in France, and the Jongleurs, "dancers,
jugglers, and buffoons"--Domestic Music in Germany and the Low
Countries in the sixteenth century--The Viol and the Madrigal--Music
in Italy--Adrian Willaert, "The Father of the Madrigal"--Northern
Musicians attracted to Italian Courts--Development of the Madrigal in
Italy--High standard of early Italian work, but under German
teaching--The Viols of Brensius of Bologna--Silvestro Ganassi, his
work on the Viol--Duiffoprugcar and Gasparo da Salo and the
development of the Violin--The Fretted Finger-board--The Violono or
Bass Viol--Five-stringed Viols--The three-stringed Fiddle, or Geige,
attributed to Andrea Amati, altered by the Brothers Mantegazza to a
four-stringed Violin--Advent of the four-stringed Violin ascribed to
Gasparo da Salo . . . . . . . . . . . . . . . . . . . . . . . . 12-26
SECTION II.--THE CONSTRUCTION OF THE VIOLIN.
The present form of the Violin the result of much research and
experiment, but perfected by the great Cremonese makers--Hogarth's
"Line of Beauty" exemplified in the Violin--The requisites necessary
to the due appreciation of the grace and properties of the Violin, and
its exquisite power of expression--Its acoustical
properties--Varieties of woods used in its construction--Methods
adopted, and choice of material, by the great Brescian and Cremonese
makers--The "whole-back" and "slab-back"--The constituent parts of the
Violin--System of placing the sound-bar--Properties and position of
the sound-post, and of the bridge; the neck; the finger-board;
purfling, &c., &c.--The sound-holes of different makers--Needed
cautions as to repairing good instruments . . . . . . . . . . . 27-42
SECTION III.--ITALIAN AND OTHER STRINGS.
Importance of the Strings in the economy of the Violin--Adrien Le
Roy's instructions "How to know Strings"--Thomas Mace and "Venetian
Catlins"--Character of the different manufactures of
Strings--Superiority of the Italian--The raw material not supplied by
the feline race--Rules to be observed in choosing Strings--Modern
improvements in Stringing--The Strings of Lindley and
Dragonetti--Covered Strings--Experiments on the strain and pressure of
Strings . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43-56
SECTION IV.--THE ITALIAN SCHOOL.
A glance at the rise, culmination, and decadence of Art in Italy, and
the Violin as connected therewith--The Italians far in advance of
other nations in the manufacture--The five Schools of Italian
makers--Roger North on the demand for Italian Violins--Brescia the
cradle of the manufacture . . . . . . . . . . . . . . . . . . . 57-69
SECTION V.--THE ITALIAN VARNISH.
The formation of the Italian Varnish a secret lost to the
world--Lustrous character of that of Cremona--Characteristics of the
four classes of Italian Varnish--Conjecture as to the loss of the
secret--Influence of the different Varnishes on the tone of the
Violin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70-76
SECTION VI.--ITALIAN MAKERS.
Acevo--Albanesi--Albani--Aletzie--Alvani--AMATI, ANDREA; evidence as
to date of birth; his Violins small; founded the School of Cremona;
probably a pupil of Gasparo da Salo; his model high, and sound-hole
inelegant; his varnish deep golden; his "Charles IX. Set" of
twenty-four Violins, six Tenors and eight Basses--Amati,
Niccolo--AMATI, the Brothers ANTONIO and GIROLAMO; probable date of
birth; comparison of the respective work, material, and tone of the
two brothers--AMATI, NICCOLO, son of Girolamo; date of birth and
death; the greatest of his illustrious family; gradual change in
style; the "Grand Amati," followed by his great pupil, Stradivari; its
exquisite proportions and character; singular beauty of his material,
and elegance of design; differences between Niccolo Amati and his
several copyists, Italian, German, and English--AMATI, GIROLAMO; date
of birth; his work ascribed to other makers; character of his
instruments and his varnish; the last of the Amatis--Ambrosi,
Pietro--Anselmo, Pietro--Antoniazzi, Gaetano--Antonio of
Bologna--Antonio, Ciciliano--Assalone, Gasparo . . . . . . . . . 77-94
Bagatella, Antonio--Bagatella, Pietro--BALESTRIERI, TOMMASO; probably
a pupil of Stradivari; his work rough, but vigorous, tone and varnish
good; his instruments rising in value--Bassiano, Lute-maker,
Rome--Bellosio, Anselmo--Bente, Matteo--BERGONZI, CARLO; pupil of
Antonio Stradivari; his work closely resembling that of his great
master, and of the highest class; increasing appreciation; comparison
of his instruments with those of Stradivari and Giuseppe Guarneri;
character of his varnish, &c.; Violoncellos and Double-Basses of this
maker--Bergonzi, Michel Angelo--BERGONZI, NICCOLO; character of his
work--Bergonzi, Zosimo--Bergonzi, Carlo--Bergonzi,
Benedetto--Bertassi, Ambrogio--Bertolotti (see Salo)--Bimbi,
B.--Borelli, Andrea--Brensio, Girolamo--Brescia, da,
Battista--Broschi, Carlo--Busseto, Giovanni . . . . . . . . . . 95-104
Calcagni, Bernardo--Calvarola, Bartolommeo--Camilli, Camillo--CAPPA,
GIOFFREDO; pupil of the Brothers Amati; character of his work, in
Violins and Violoncellos--Casini, Antonio--Castro--Catenar,
Enrico--Celioniati, Gian Francesco--Cerin, Marco Antonio--Ceruti,
Giovanni Battista; a prolific workman--Ceruti, Giuseppe--Ceruti,
Enrico, son of Giuseppe; his work much valued by Italian players;
exhibited in London and Milan Exhibitions--Cristofori,
Bartolommeo--Circapa, Tommaso--Cocco, Cristoforo--Contreras,
Joseph--Cordano, Jacopo Filippo--Costa, Pietro Antonio dalla; skilful
copier of Amati . . . . . . . . . . . . . . . . . . . . . . . 104-110
Dardelli, Pietro; a Franciscan Monk; his Viols and Lutes--Despine,
A.--Dieffoprugcar, Magno (Magnus Tieffenbrucker)--Dominicelli,
Ferrara--DUIFFOPRUGCAR, GASPAR; high character of his Viols . 110-112
Farinato, Paolo--Ficker, Johann Christian--Ficker, Johann
Gottlieb--Fiorillo, Giovanni--Frei, Hans; Lute and Viol-maker 112-113
GABRIELLI, GIOVANNI BATTISTA; his Violoncellos and Violins of high
character--Gaffino, Giuseppe--GAGLIANO, ALESSANDRO; pupil of Antonio
Stradivari; character of his work--Gagliano, Gennaro--Gagliano,
Niccolo--Gagliano, Ferdinando--Gagliano, Giuseppe--Gagliano, Giovanni,
Antonio, and Raffaele--Galbusera, C. A.--Garani, Michel
Angelo--Garani, Niccolo--Gaspara da Salo (see Salo)--Gatinari,
Francesco--Geroni, Domenico Ostiano--Gibertini, Antonio--GOBETTI
(_Gobit_) FRANCESCO; comparisons of his work with those of Montagnana,
Santo Serafino, and Ruggeri--Gofriller, Matteo--Gofriller,
Francesco--Gragnani, Antonio--GRANCINO, PAOLO; pupil of Niccolo Amati;
a true artist; classed with Stradivari, Bergonzi, Amati, and Guarneri;
his Violas and Violoncellos--Grancino, Giovanni--Grancino, Giovanni
Battista--Grancino, Francesco--Grulli, Pietro--GUADAGNINI, LORENZO,
and Giovanni Battista; high character of their work--Guadagnini,
Gaetano--Guadagnini, Giuseppe--Guadagnini, Carlo--Guadagnini,
Antonio--GUARNERI, ANDREA; the pioneer of his family; worked with
Stradivari and Niccolo Amati--GUARNERI, GIUSEPPE, son of Andrea; his
Violins, Violas, and Violoncellos--GUARNERI, PIETRO, brother of
Andrea--GUARNERI, PIETRO, grandson of Andrea--GUARNERI, GIUSEPPE (del
Gesu); his monogram and cypher; evidence of his birth; sketch of his
life, and characteristics of his work; comparison with Stradivari and
Gasparo da Salo; his "three epochs;" lustrous quality of his varnish;
different characters of his wood; the tradition of his "Prison
Fiddles"; a "Prison Joseph"--Guidanti, Giovanni--Guillami . . 113-147
Harton, Michael . . . . . . . . . . . . . . . . . . . . . . . . . 147
Kerlino, Joan . . . . . . . . . . . . . . . . . . . . . . . . . . 147
Lagetto, Luigi--Landolfi, Carlo Ferdinando; original and generally
good quality of his work--Lanza, Antonio Maria--Lavazza,
Santino--Lavazza, Antonio--Linarolli, Venturo--Loly, Jacopo . 147-148
MAGGINI, GIOVANNI PAOLO; pupil and follower of Gasparo da Salo; other
makers' productions frequently attributed to him; comparison of his
work with that of Da Salo--MALER (Lutinist); termed the "Stradivari of
Lutes;" Thomas Mace on the art of judging Lutes and Viols--MANTEGAZZA,
PIETRO GIOVANNI; eminent as a restorer--Maratti--Mariani,
Antonio--Meiberi, Francesco--Mezadri, Alessandro--Mezadri,
Francesco--MONTAGNANA, DOMENICO; pupil of Antonio Stradivari; splendid
specimens of his art still extant; his cognomen, "The Mighty
Venetian;" rising value of his instruments; comparison with Stradivari
and Bergonzi; superior character of his varnish--Montaldi,
Gregorio--Morella . . . . . . . . . . . . . . . . . . . . . . 149-158
Nadotti, Giuseppe--Nella, Raffaele . . . . . . . . . . . . . . . . 158
Ortega . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
Pandolfi, Antonio--PANORMO, VINCENZO; follower of Antonio Stradivari;
residence in London and in Ireland; his struggles with adversity;
light and graceful character of his work--Pansani, Antonio--Pasta,
Antonio--Pasta, Domenico--Picino--Platner, Michel--Pollusca,
Antonio--PRESSENDA, GIOVANNI FRANCESCO; superior work and varnish
studied in Cremona; contrast with contemporary workers; humble origin;
his connection with Storioni, and with Polledro, the Violinist; his
models, Stradivari and Amati . . . . . . . . . . . . . . . . . 158-163
Racceris--Rinaldi, Gioffredo--Rocca, J. A.--Rodiani--Rota,
Giovanni--Rovetta--ROGERI, GIOVANNI BATTISTA ("Bononiensis," from or
settled in Bologna); his instruments of large Amati pattern--ROGERI,
PIETRO GIACOMO--RUGGERI, FRANCESCO ("Il Per"); early artistic genius;
foremost position of his family in Cremona; pupil of Niccolo Amati and
worthy of him; brilliancy of his varnish--RUGGERI, GIACINTO--RUGGERI,
VINCENZO--RUGGERI, GIAMBATTISTA . . . . . . . . . . . . . . . 163-167
SACCHINI--SALO GASPARO DA ("The Great Brescian,"); his real name
Bertolotti; essentially a maker of Viols; primitive character of his
instruments; evidence as to date of his work; Ganassi's work on the
Art of Playing the Viol; six-stringed and four-stringed Viols; Martin
Agricola and his "Musica Instrumentalis;" Quatuor of instruments,
Decantus, Altus, Tenor, and Bassus; foundation by Da Salo of Italian
Violin-making; gradual and tentative development of his system; high
value of his labours as a pioneer; chief characteristics of his work;
his nice discrimination in choice of material; Signor Dragonetti's
four Double-Basses of this maker, and his presentation of one of them
to the Monastery St. Mark's, Venice--Sanoni, Giovanni Battista--Santo,
Giovanni--Sanzo--Sardi--Sellas, Matteo--SERAFINO, SANTO; exquisite
finish of his work; variation of model; high character of varnish and
work; his method of cutting; copied Amati and Stainer--Sneider,
Josefo--Socchi, Vincenzo--Sorsana--Stregner, Magno--Storioni; follower
of Guarneri del Gesu; his freak as to placing the sound-holes;
creditable character of his work in several respects--STRADIVARI,
ANTONIO; his renown beyond that of all others; researches as to
records of his life; evidence as to date of birth, marriage, and
death; Genealogical Table of his family; the inventory of his work
remaining at his death; similarity of his early work to that of his
master, Niccolo Amati; evidences as to later changes of style; his
inheritance of his aged master's tools and models; his purchase of his
house in Cremona; contemporary appreciation of his merits; his set of
Violins, Altos, and Violoncellos for King James of England; valuable
evidence of Desiderio Arisi, and of Vincenzo Lancetti; Count Cozio's
purchase of Stradivari's models, tools, and drawings, and their
present possession by the Marquis Dalla Valle; instruments made for
the Duke of Natalona, the Duke of Savoy, and the Duke of Modena; the
"Long Strad"; instruments for the Spanish Court; letter from the
Marquis Ariberti; a "Chest of Viols;" a "Concerto;" Stradivari's
"golden period," 1700; description of his instruments of this date;
the "Betts Strad;" guiding principles as to differences of
construction and quality of material; the "Dolphin Strad," its
exquisite beauty; tranquil character of Stradivari's life; war in
Cremona; Prince Eugene and Villeroy; visit of Philip V. of Spain to
Italy, and entry into Cremona; set of instruments for Charles III. of
Spain, and for Archduke Charles of Austria; letter from Lorenzo
Giustiniani; set of Violins for Augustus, King of Poland; Veracini,
the Solo-Violinist, and Stradivari; last epoch of the great maker;
quality of his instruments at this period; comparison with those of
contemporaries; place of his burial, in the Chapel of the Rosary, with
diagram; Polledro's description of the personality of Stradivari;
singular apathy of the Cremonese as to their great deceased
citizen--STRADIVARI, FRANCESCO and OMOBONO, sons and successors of
Antonio; character of their work; correspondence between his son and
grandson, Paolo and Antonio, and the agents of Count Cozio di Salabue,
relative to the purchase of the models, tools, and drawings of the
Maestro--Sursano, Spirito . . . . . . . . . . . . . . . . . . 168-219
Tanegia, Carlo Antonio--Taningard, Giorgio--TECCHLER, DAVID; his
instruments of German and Italian styles, finely formed, and of good
quality; his Violoncellos of large size--Testore, Carlo
Giuseppe--Testore, Carlo Antonio--Testore, Paolo
Antonio--Tieffenbrucker, Leonardo--Todini, Michele; his method of
stringing the Violono--Tononi, Carlo--Tononi, Carlo Antonio--Tononi,
Giovanni--Tononi, Felice--Tononi, Guido--Trapani, Raffaele . . 219-222
Valenzano, G.--Vetrini, Battista--Vimercati . . . . . . . . . . . 222
Wenger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222
Zannetto, Pellegrino--Zanola, Giovanni Battista--Zanotti,
Antonio--Zanti, Alessandro--Zanure, Pietro--Zenatto, Pietro . 222-223
SECTION VII.--THE FRENCH SCHOOL.
Origin of the French School in the 17th century; followers of the
Brescian and Cremonese types; mediocre character of their earlier
efforts, with a few exceptions--De Comble and the second French
School; Pique, Lupot, and Francois Gand; Silvestre, of
Lyons--Introduction of the practice of Fiddle-baking; its failure--The
copyist, and the Mirecourt factory, the "Manchester of Fiddle-making;"
its destructive influence on the interests of true art . . . . 224-230
SECTION VIII.--FRENCH MAKERS.
Aldric--Allar--Amelot--Aubry--Augiere . . . . . . . . . . . . . . 231
Bachelier--Bassot--Bernardel, Sebastien Philippe--Bertrand,
Nicolas--Boivin, Claude--Boquay, Jacques; follower of Girolamo
Amati--Borlon, Artus, or Arnould--Borlon (or Porlon), Pierre,
Viol-maker--Borlon, Joannes--Borlon, Francois--Boullangier,
C.--Boumeester--Bourdet, Sebastien--Bourdet, Jacques--Boussu,
Eterbeck--Breton, Le--Brugere . . . . . . . . . . . . . . . . 231-234
CALOT--Castagnery, Andrea--Castagnery, Jean Paul--Champion,
Rene--Chanot, Francois--CHANOT, GEORGES; an indefatigable worker, and
close copier of Stradivari and Guarneri--Chanot, Georges,
fils--Chanot, F.--Chanot, G. A.--Chappuy, Nicolas-Augustin--Chardon,
Joseph--Charotte--Chevrier, Andre-Augustin--Claudot, Charles--Claudot,
Augustin--Clement--Cliquot, Henri--Cliquot, Louis
Alexandre--Cunault--Cuypers--Cuny . . . . . . . . . . . . . . 234-237
Daniel--Darche--David--DE COMBLE, AMBROISE; said to have worked with
Stradivari; a skilful worker; good material and
varnish--Dehommais--Delanoix--Delaunay--Deleplanque,
Gerard--Derazey--Despons, Antoine--Dieulafait--Droulot--Ducheron,
Mathurin--Du Mesnil, Jacques . . . . . . . . . . . . . . . . . 237-238
Eesbroek, Jean Van, Lute-maker . . . . . . . . . . . . . . . . 238-239
Falaise--Fendt, or Fent--Fleury, Benoist--Fourrier, Nicolas . . . 239
GAILLARD--GAND, FRANCOIS; pupil and successor of Nicolas Lupot; an
excellent maker and repairer--Gand, Adolphe--Gand, Eugene--Gavinies,
Francois--Germain, Joseph Louis--Germain,
Emile--Gosselin--Grand-Gerard--Grandson Fils--Grosset, Paul
Francois--Guersan, Louis . . . . . . . . . . . . . . . . . . . 239-242
Hel--Henry, Jean Baptiste Felix--Henry, Charles--Henry, Octave--Henry,
Eugene--Hofmans, Mathias . . . . . . . . . . . . . . . . . . . . . 242
Jacobs, Hendrik; his work often mistaken for that of Niccolo
Amati--Jacobs--Jacquot, Charles (_pere_)--Jacquot, Charles
(_fils_)--Jeandel, P. N. . . . . . . . . . . . . . . . . . . . 242-243
Koliker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243
Lambert, Jean Nicolas--Lapaix--Laprevotte,
Etienne--Leclerc--Lecomte--Leduc, Pierre--Lefebvre--Le Jeune,
Francois--Le Pileur, Pierre--Lesclop, Francois Henry--Louis--Louvet,
Jean--Lupot, Jean--Lupot, Laurent--Lupot, Francois--LUPOT, NICOLAS;
maker to the Conservatoire; an excellent workman, and named "The
French Stradivari," and "The king of modern makers;" characteristics
of his work . . . . . . . . . . . . . . . . . . . . . . . . . 243-247
Marquis de Lair--Mast, Jean Laurent--Mast--Maucotel,
Charles--Maucotel, Charles Adolphe--Medard, Francois--Medard,
Nicolas--Medard, Jean--Mennegand, Charles; distinguished as a maker
and repairer, and also as a "cutter"--Miremont, Claude
Augustin--Modessier--Mougenot . . . . . . . . . . . . . . . . 247-250
Namy--Nezot--Nicolas, Francois--Nicolas, Fourrier--Nicolas,
Didier--Nicolas, Joseph . . . . . . . . . . . . . . . . . . . . . 250
Ouvrard, Jean . . . . . . . . . . . . . . . . . . . . . . . . . . 250
Pacherele, Michel--Pacherel--Paul, Saint--PIERRAY, CLAUDE; an
excellent workman, following Amati--Piete, N.--PIQUE, F. L.; close
copyist of Stradivari; excellent work and material--Pirot,
Claude--Pons, Cesar--Pons . . . . . . . . . . . . . . . . . . 250-252
Rambaux, Claude Victor--Raut, Jean--Remy--Remy, Jean Mathurin--Remy,
Jules--Remy--Renaudin, Leopold--Renault, Nicolas--Rombouts,
Peeter--Roze . . . . . . . . . . . . . . . . . . . . . . . . . 252-253
Sacquin--Salle--Salomon, Jean Baptiste--Saunier--Schnoeck,
Egidius--SILVESTRE, PIERRE; a true artist; follower of
Stradivari--Silvestre, Hippolyte--Silvestre, Hippolyte
Chretien--Simon--Simonin, Charles--Socquet . . . . . . . . . . 253-254
Theress, Charles--Thibout, Jacques Pierre; an excellent workman, and
well-known dealer; his relations with Luigi
Tarisio--Thomassin--Tywersus . . . . . . . . . . . . . . . . . . . 254
Vaillant, Francois--Veron, Pierre--Vibrecht, Gysbert--Vuillaume,
Jean--VUILLAUME, J. B.; a prolific and skilful maker; associated with
Tarisio, and purchaser of his collection--Vuillaume, N. F.--Vuillaume,
Claude Francois--Vuillaume, Sebastien . . . . . . . . . . . . 254-255
SECTION IX.--THE GERMAN SCHOOL.
No trace of Violin manufacture in Germany previous to the middle of
the seventeenth century--Pervading influence of Jacob Stainer in the
constitution of the German School--Popularity of his model--Mediocre
character of the school, with some notable exceptions . . . . 256-258
SECTION X.--GERMAN MAKERS.
Albani, Mathias (_pere_)--ALBANI, MATHIAS (_fils_); his style Italian,
and workmanship excellent--Albani--Alletzie, Paolo--Artmann . 259-260
Bachmann, Carl Ludwig; maker to the Court of Frederick the Great;
founder of Concerts for Amateurs at Berlin--Bachmann, O.--Bausch,
Ludwig C. A.--Bausch, Ludwig B.--Bausch, Otto
B.--Beckmann--Bedler--Bindernagel; made in both German and Italian
styles--Buchstadter . . . . . . . . . . . . . . . . . . . . . 260-261
Christa, Joseph Paul . . . . . . . . . . . . . . . . . . . . . . . 261
Diel (or Diehl), Martin--Diel, Nicolaus--Diel, Johann--Diel,
Jacob--Diehl, Nicolaus Louis--Diehl, Friedrich--Diehl, Johann--Diehl,
Heinrich--Dopfer, Nicolaus--Durfel . . . . . . . . . . . . . . 261-262
Eberle, J. Ulric; good copyist; form Italian; made also Viols
d'Amour--Edlinger, T.--Edlinger, Joseph Joachim--Elsler, Joseph; made
Viols da Gamba--Ernst, Franz Anton; pupil of Antonio Lolli; Court
Musician at Gotha . . . . . . . . . . . . . . . . . . . . . . 262-263
Felden, M.--Fichtold, Hans--Fichtl, Martin--Ficker, Johann
Christian--Ficker, Johann Gotlieb--Fischer, Zacharie--Frey, Hans;
maker of Lutes; related to Albert Durer--Fritzche . . . . . . 263-264
Gedler, Johann A.--Gedler, Johann B.--Geissenhof, Franz; Stradivari
model--Gerle, Johann, Lute-maker--Griesser, Matthias--Grimm,
Carl--Grobitz, A.--Gugemmos . . . . . . . . . . . . . . . . . . . 264
Haensel, Johann A.; his "Ueber den Bau der Violin"--Hamberger,
Joseph--Hamm--Hammig, Johann Gottfried--Hassert--Hassert--Helmer,
Carl--Hildebrandt--Hiltz, Paul--Hoffmann, Martin--Hoffmann, Johann
Christian--Hornstainer, Joseph--Hornstainer, Matthias--Horil,
Jacob--Huller, August--Humel, Christian--Hunger, Christoph
Friedrich . . . . . . . . . . . . . . . . . . . . . . . . . . 264-265
Jais, Johann--Jauch, Johann . . . . . . . . . . . . . . . . . . . 265
Karb--Kambl, Johann A.--Kembter--Kiaposse, Sawes--Kirchschlag--Kloz,
Matthias; pupil of Stainer--KLOZ, SEBASTIAN; superior model, form
flat--Kloz, George--Kloz, Egidius--Kloz, Joseph--Kloz, J.
Karl--Knittle, Joseph--Knitting--Kohl, Johann--Kolditz, J.--Kolditz,
Mathias Johann--Kramer, H.--Kriner, Joseph . . . . . . . . . . 265-267
Laska, Joseph--Lembock . . . . . . . . . . . . . . . . . . . . . . 267
Mann, Hans--MAUSSIELL, LEONARD; Stainer model; excellent workmanship;
style of Tecchler--Maher (Maier)--Meusidler--Mohr,
Philip--Moldonner . . . . . . . . . . . . . . . . . . . . . . . . 267
Niggel, Simpertus; good workmanship . . . . . . . . . . . . . . . 267
Ohberg, Johann--Ott, Johann--Otto, Jacob August; maker to the Court of
Weimar; author of "Ueber den Bau und die Ehrhaltung der Geige und
aller Bogeninstrumente"--Otto, Georg August--Otto, Christian--Otto,
Heinrich--Otto, Carl--Otto, C. U. F.--Otto, Ludwig--Otto, Louis--Otto,
Hermann . . . . . . . . . . . . . . . . . . . . . . . . . . . 267-268
Parth, Andreas Nicholas--Pfretzschner, Gottlob--Pfretzschner, Carl
Friedrich--Plack, F.--Possen, L. . . . . . . . . . . . . . . . 268-269
Rauch--Rauch, Jacob; Court Violin-maker--Rauch,
Sebastian--Rauch--Reichel, Johann Gottfried--Reichel, Johann
Conrad--Reichers, August--Riess--Roth, Christian--Ruppert . . . . 269
Sainprae, Jacques; Baryton Viol-maker--Sawicki--Scheinlein,
Mathias--Scheinlein, Johann Michael--Schell,
Sebastian--Schlick--Schmidt--Schonfelder, Johann A.--Schonger,
Franz--Schonger, Georg--Schorn, Johann; excellent work; high
model--Schorn, Johann Paul; Court instrument-maker--Schott,
Martin--Schweitzer--Stadelmann, Daniel; good work; Stainer
model--Stadelmann, Johann Joseph--STAINER, JACOB; the greatest of
German makers, and a thorough artist; his model original; sketch of
his history and work; great popularity of his style; his "Elector
Stainers;" Herr S. Ruf's personal history of Stainer's life, and the
romance founded thereon; Counsellor Von Sardagna's contributions to
his history; Rabenalt's drama, "Jacob Stainer," and other poems
thereon: "Der Geigenmacher Jacob Stainer von Absam;" said to have been
a pupil of Niccolo Amati; his marriage; his appointment as Court
Violin-maker; accused of heresy, and imprisoned; pecuniary
difficulties, and sad end; his good name frequently clouded by
inferior work falsely attributed to him--Stainer, Markus--Stainer,
Andreas--Staugtinger, Mathias W.--Steininger, Jacob; related to Dopfer
and Nicholas Diel--Steininger, Franz--Stoss--Stoss,
Martin--Straube--Strauss, Joseph . . . . . . . . . . . . . . . 269-281
TIEFFENBRUCKER--TIELKE, JOACHIM (i.); Lute and Guitar-maker; rich and
chaste ornamentation of his work; description of examples extant in
England--TIELKE, JOACHIM (ii.); fine examples of a later maker of this
name at South Kensington and elsewhere . . . . . . . . . . . . 281-282
VOEL, E.; excellent work; Stradivari model--Vogel, Wolfgang--Vogler,
Johann Georg--Voigt, Martin . . . . . . . . . . . . . . . . . 282-283
Wagner, Joseph--Weickert--Weigert--Weiss, Jacob--Wenger, G.
F.--Widhalm, Leopold; follower of Stainer; careful finish and good
varnish--Wyemann, Cornelius . . . . . . . . . . . . . . . . . . . 283
Zwerger, Antoni . . . . . . . . . . . . . . . . . . . . . . . . . 283
SECTION XI.--THE ENGLISH SCHOOL.
Non-recognition of English makers by Continental writers on the
Violin--Causes of the partial decadence of the art in this country as
on the Continent--Earliest English makers, and their several
models--School of English copyists . . . . . . . . . . . . . . 284-292
SECTION XII.--ENGLISH MAKERS.
Absam, Thomas--Adams--Addison, William--Aireton, Edmund; an excellent
copyist of Amati--Aldred--Askey, Samuel . . . . . . . . . . . . . 293
Baines--Baker--Ballantine--BANKS, BENJAMIN; the foremost English
maker, and termed "The English Amati;" high character of his work and
varnish--Banks, Benjamin (2)--Banks, James and Henry--Barnes,
Robert--Barrett, John; follower of Stainer; good quality of
work--Barton, George--Betts, John; pupil of Richard Duke--BETTS,
EDWARD; pupil of Duke, and an excellent copyist; high finish; Amati
model--Bolles--Booth, William--Booth--Boucher--Brown, James--Brown,
James (2)--Browne, John . . . . . . . . . . . . . . . . . . . 293-299
Cahusac--Carter, John--Challoner, Thomas--Cole, Thomas--Cole,
James--Collier, Samuel--Collier, Thomas--Collingwood, Joseph--Conway,
William--Corsby, George--Cramond, Charles--Crask, George--Cross,
Nathaniel--Crowther, John--Cuthbert; good quality of work . . 299-300
Davidson, Hay--Davis, Richard--Davis, William--Dearlove, Mark--Delany,
John; his peculiar label--Dennis, Jesse--Devereux, John--Dickinson,
Edward--Dickeson, John; excellent copyist of Amati--Ditton--DODD,
THOMAS; not a maker, but an employer of makers of highest class, and
especially famous for the high character of his varnish--Dodd, Thomas
(2)--Dorant, William--DUKE, RICHARD; his name a "household word" with
English Violinists; high character of his real work, but frequently
and badly counterfeited; his models both Amatese and Stainer--Duke,
Richard (2)--Duncan . . . . . . . . . . . . . . . . . . . . . 300-305
Eglington--Evans, Richard . . . . . . . . . . . . . . . . . . . . 305
FENDT, BERNARD; a born Fiddle-maker; a fellow workman with John F.
Lott; his instruments copies of Amati, bearing the labels of Thomas
Dodd or John Betts, and highly valued--FENDT, BERNARD SIMON; good
work, but sometimes artificially "matured;" his Violins, Tenors,
Violoncellos, and Double-Basses; follower of the Guarneri and Gasparo
da Salo models; his quartett of instruments in the London Exhibition
of 1851--Fendt, Martin--Fendt, Jacob; his work finely finished;
skilful copies of Stradivari, but artificially and cleverly
"aged"--Fendt, Francis--Fendt, William--Ferguson,
Donald--Firth--Forster, W.--Forster, William (i.); spinning-wheel and
Violin-maker--FORSTER, WILLIAM (ii.); also a maker of spinning-wheels
and Violins, and amateur Fiddler; an excellent copyist of Stainer and
of the Amati models; high character of his work and varnish; his
Double-Basses for the Band of George the Third; his instruments highly
valued by Robert Lindley--FORSTER, WILLIAM (iii.); excellent
work--Forster, William (iv.)--Forster, Simon
Andrew--Frankland--Furber, John--Furber, Henry John . . . . . 305-313
Gibbs, James--GILKES, SAMUEL; a thorough artist, and pupil of William
Forster--Gilkes, William--Gough, Walter . . . . . . . . . . . 313-314
Harbour--Hardie, Matthew; Scotland's best maker--Hardie, Thomas--Hare,
John--Hare, Joseph--HARRIS, CHARLES; genuine character of work, of
Amati and Stradivari type; exquisite finish and good varnish--Harris,
Charles (2)--HART, JOHN THOMAS; pupil of Samuel Gilkes; specially
known as connoisseur, collector, and dealer--Heesom, Edward--Hill,
Joseph--Hill, William--Hill, Joseph--Hill, Lockey--Hill, William
Ebsworth--Holloway, J.--Hume, Richard . . . . . . . . . . . . 314-318
Jay, Henry; Viol-maker--Jay, Thomas--Jay, Henry; maker of
Kits--Johnson, John; music-seller and dealer; referred to by Dibdin in
his Autobiography . . . . . . . . . . . . . . . . . . . . . . 318-320
Kennedy, Alexander--Kennedy, John--Kennedy, Thomas . . . . . . . . 320
Lentz, Johann Nicolaus--Lewis, Edward--Longman and Broderip;
music-sellers and publishers--LOTT, JOHN FREDERICK; a finished
workman, employed by Thomas Dodd; splendid character of his work; the
"King of English Double-Bass makers"--Lott, George Frederick--Lott,
John Frederick; his chequered career, and Charles Reade's novel
thereon . . . . . . . . . . . . . . . . . . . . . . . . . . . 320-322
Macintosh--Marshall, John--Martin--Mayson, W.--Meares,
Richard--Mier--Morrison, John . . . . . . . . . . . . . . . . 322-323
Naylor, Isaac--Norborn, John--NORMAN, BARAK; probably a pupil of
Urquhart; follower of Maggini; excellent quality of his Violoncellos
and Tenors; his partnership with Nathaniel Cross--Norris, John 323-325
Pamphilon, Edward--Panormo, Vincent--Panormo, Joseph; excellent
character of work--Panormo, George Lewis--Panormo, Louis--Parker,
Daniel--Pearce, James--Pemberton, Edward--Perry and
Wilkinson--Powell--Preston, John . . . . . . . . . . . . . . 325-327
Rawlins, Henry--Rayman, Jacob; founder of Violin-making in
England--Richards, Edwin--Rook, Joseph--Rosse (or Ross), John--Ross,
John (2); good character of work and varnish . . . . . . . . . 327-328
Shaw--Simpson--Smith, Henry--Smith, Thomas--Smith, William . . . . 328
Tarr, W.--Taylor--Thompson--Thorowgood, Henry--Tilley, Thomas--Tobin,
Richard--Tobin . . . . . . . . . . . . . . . . . . . . . . . . 328-329
Urquhart; excellent character of his work . . . . . . . . . . . . 329
Valentine, William . . . . . . . . . . . . . . . . . . . . . . . . 329
Wamsley, Peter; superior character of his work--Wise,
Christopher--Withers, Edward--Withers, Edward (2) . . . . . . 329-330
Young, father and son, and Purcell's Catch . . . . . . . . . . . . 330
SECTION XIII.--THE VIOLIN AND ITS VOTARIES.
Sterne on Hobby-horses--Tender relationships between the Violin and
its Votaries--Wendell Holmes on the Violin--Thomas Mace on early
prices of instruments--Early makers, continental and English--Advent
of the Stainer model, and its temporary preference over those of the
Italian masters; its depressing influence on prices of Amatis and
Stradivaris--Guarneri del Gesu brought to the front by Paganini, and
Maggini by De Beriot--Recognition of the merits of Bergonzi,
Guadagnini, and Montagnana--Luigi Tarisio, and his pilgrimages in
search of hidden treasures; his progress as amateur, connoisseur,
devotee; his singular enthusiasm, and Charles Reade's anecdote
thereon; the Spanish Bass in the Bay of Biscay; Tarisio's visit to
England, and the Goding collection; his hermit life; purchase of his
collection by M. Vuillaume--Principal buyers of Italian instruments at
this period, continental and English--Charles Reade as a
connoisseur--Count Cozio di Salabue, an ardent votary of the Cremonese
Violin; his purchase of Stradivari's instruments, patterns, tools,
&c.; his correspondence with Paolo Stradivari relating
thereto--William Corbett, and his "Gallery of Cremonys and
Stainers"--The collections of Andrew Fountaine and James Goding--The
Gillott Collection; its curious origin, its unique character and
interesting circumstances attending its sale . . . . . . . . . 331-374
SECTION XIV.--SKETCH OF THE PROGRESS OF THE VIOLIN.
Date of the first appearance of the instrument--The Violin of Leonardo
da Vinci--Paolo Veronese's picture, "The Marriage at Cana" (with
engraving)--Baltazarini, the earliest known player--The "Concert
Orchestra" and the Duke of Ferrara--First use of stringed instruments
in the Opera; the "Orfeo" of Claudio Monteverde--Introduction of the
Sonata; Dr. Burney thereon--Corelli, and the "Balletti da
Camera"--Dibdin on Corelli's Concertos--Jean Baptiste Lulli, and the
Legend of the Stewpans; his influence on early French Violin
music--Progress of the Violin in England; Dr. Rogers and John
Jenkins--Samuel Pepys on the emoluments of the Royal Band--John
Bannister and the earliest English public concerts--Henry Purcell; his
Sonatas, and his royal patron, Charles II.--Thomas Britton, the
"musical small-coal man," and his concerts in Clerkenwell--John Henry
and Thomas Eccles, and itinerant musicians--Francesco Geminiani; his
Sonatas and musical works--Progress of the instrument in Italy;
Tartini and his compositions; Locatelli, Lolli, and Giardini;
Boccherini and his Quintets; Viotti, his School of Violin-playing, and
his concerts; Campagnoli, and his "Studies on the Seven Positions of
the Violin," and other works; Paganini, and his imitators; Sivori, Ole
Bull, Leclair, Gavines, and other leaders in the art--Violin-playing
in France and Belgium; M. Rode, M. Alard, M. Sainton, De Beriot and
Vieuxtemps--Polish Violinists of note--Lord Chesterfield's
instructions to his son relative to Fiddling--Michael Festing and
Thomas Britton; origin of "The Philharmonic Society," and of the
"Royal Society of Musicians"--Handel legacy to the Royal
Society--Early musical proclivities of the Earl of Mornington--Salomon
and the Philharmonic; negociations with Haydn--Influence of Salomon on
the development of musical taste in England--The Cramers--Nicholas
Mori and others--Dando--Henry Blagrove, and his "Concerti da
Camera"--Mr. Chappell and his "Monday Popular Concerts"--Henry C.
Cooper, and the "Quartett Association"--M. Sainton, Hill, Piatti; John
Carrodus, Herr Molique, and the Brothers Holmes--Progress of the
Violin in Germany: Graun and Benda; John Sebastian Bach as Violinist
and composer; Herr Joachim--Handel, influence of his compositions on
the progress of the Violin--Haydn, and his Symphonies and Quartetts; A
lady's ideal thereof--Mozart, and his "Method" for the Violin; his
early attachment to the instrument--Schubert, Beethoven, Mendelssohn,
Fesca, and their influence--Louis Spohr and his works--Bernard
Molique--Joseph Mayseder--Kalliwoda--Herr Ernst, Joachim and Strauss,
with Herr Wilhelmj, and their concerts . . . . . . . . . . . . 375-409
SECTION XV.--ANECDOTES AND MISCELLANEA CONNECTED WITH THE VIOLIN.
Hudibras and the Champion Crowdero--George Herbert's references to
Music--Christopher Simpson's Trinity in Unity--Shakespeare's Sonnet
VIII.--Violins from a medical point of view--"A Musician"--Origin of
Tartini's "Sonato del Diavolo"--Dr. Johnson and the Violin--Dr.
Johnson on the Difficulty of Playing the Violin--Dr. Johnson's Epitaph
on Phillips, the Welsh Violinist--Dr. Johnson's Knowledge of
Music--Dr. Johnson on Fiddling and Freewill--Haydn in London: a "Sweet
Stradivari;" Letters of the Rev. Thomas Twining--Gainsborough as a
musician--Garrick and Cervetto--The King and the Player--Sir Walter
Scott on Music and Fiddles; the Duke of Hamilton's passion for the
Violin--A Cinderella Violoncello--A Stolen "Strad"--The Missing
Scroll--Another Wandering Scroll--A Montagnana Instrument shot through
the body--Fiddle Marks and the Credulous Dabblers--"Guarneri" at a
Discount--Dragonetti's Gasparo: Letter thereon by Mr. Samuel
Appleby--The Betts Stradivari: Letter by the late Charles Reade--Leigh
Hunt on Paganini--Thackeray on Orchestral Music--Spohr and his
Guarneri--Spohr and the Collector--The Ettrick Shepherd and the
Violin--The Fiddle Trade: "Old Borax" and "Michael Schnapps," the
Fiddle-ogre--The Prince and the "Fugal Vortex"--Sale of Cremonese
Instruments at Milan in 1790--An Indefatigable Violinist--A
Wish--Living Stradivaris--Pleasures of Imagination--A Royal
Amateur--Pius IX. and the Musician--Ole Bull and Fiddle
Varnish--Letter from Tartini on the Treatment of the Violin . 410-507
INDEX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 509
LIST OF ILLUSTRATIONS
FRONTISPIECE--Paganini's "Giuseppe Guarneri." 1743.
PLATE FACING PAGE
I. Stradivari Viola. 1672 . . . . . . . . . . . . . . . . . . 16
II. Jacobus Stainer. 1669
Giuseppe Guarneri del Gesu
Niccolo Amati. Grand Pattern. 1641 . . . . . . . . . . . . 32
III. Violoncello by Antonio Stradivari . . . . . . . . . . . . . 50
IV. Antonio Stradivari. 1734
The Gillott "Strad." 1715
Giuseppe Guarneri del Gesu. 1734 . . . . . . . . . . . . . 66
V. Carlo Bergonzi Violoncello. Grand Pattern . . . . . . . . . 84
VI. J. B. Guadagnini
Storioni. 1797 . . . . . . . . . . . . . . . . . . . . . . 102
VII. Specimens of Scrolls . . . . . . . . . . . . . . . . . . . 120
VIII. Giuseppe Guarneri. 1742
Antonio Stradivari. 1711
Antonio Stradivari. 1703 . . . . . . . . . . . . . . . . . 136
IX. Giuseppe Guarneri del Gesu. 1737 . . . . . . . . . . . . . 154
X. Domenico Montagnana Violoncello . . . . . . . . . . . . . . 170
XI. Antonio Stradivari. Tenor. 1690
Antonio Stradivari. 1734 . . . . . . . . . . . . . . . . . 186
XII. Giuseppe Guarneri del Gesu. 1738
The "Dolphin" Strad. 1714
Antonio Stradivari. 1718 . . . . . . . . . . . . . . . . . 200
XIII. Antonio Stradivari. 1702
Antonio Stradivari. 1722
Antonio Stradivari. 1703 . . . . . . . . . . . . . . . . . 232
XIV. Stradivari Violoncello . . . . . . . . . . . . . . . . . . 250
XV. Chapel of the Rosary, Cremona . . . . . . . . . . . . . . . 266
XVI. Antonio Stradivari. 1708
Antonio Stradivari. 1736
Giuseppe Guarneri del Gesu. 1735 . . . . . . . . . . . . . 282
XVII. The "Betts" Stradivari. 1704 . . . . . . . . . . . . . . . 298
XVIII. Giuseppe Guarneri del Gesu
Antonio Stradivari (Inlaid). 1687 . . . . . . . . . . . . . 316
XIX. Giuseppe Guarneri del Gesu. 1733
Giuseppe Guarneri del Gesu. 1741
Antonio Stradivari. 1726 . . . . . . . . . . . . . . . . . 332
XX. Gasparo da Salo
Giuseppe Guarneri del Gesu. 1735 . . . . . . . . . . . . . 348
XXI. Antonio Stradivari. 1690 . . . . . . . . . . . . . . . . . 380
"Marriage at Cana," by Paolo Veronese . . . . . . . . . . . 376
Tartini's Dream . . . . . . . . . . . . . . . . . . . . . . 428
THE VIOLIN
ITS FAMOUS MAKERS AND THEIR IMITATORS
SECTION I
The Early History of the Violin
1.
The early history of the Violin is involved in obscurity, and in
consequence, much diversity of opinion exists with regard to it. The
chief object of the writer of these pages is to throw light upon the
instrument in its perfected state. It is, therefore, unnecessary to
enter at great length upon the vexed question of its origin. The
increased research attendant upon the development of musical history
generally could hardly fail to discover facts of more or less
importance relative to the origin of instruments played with a bow;
but although our knowledge in this direction is both deeper and wider,
the light shed upon the subject has not served to dissipate the
darkness attending it. Certain parts have been illumined, and
conclusions of more or less worth have been drawn therefrom; for the
rest, all remains more hopelessly obscured and doubtful than the
identity of the "Man in the Iron Mask" or the writer of the "Letters
of Junius."
It is satisfactory to know that the most valuable and interesting part
of our subject is comparatively free from that doubt and tradition
which necessarily attaches to the portion belonging to the Dark or
Middle Ages. When we reflect that Music--as we understand it--is a
modern art, and that all instruments of the Viol and Fiddle type, as
far as the end of the fifteenth century, were rude if not barbarous,
it can scarcely excite surprise that our interest should with
difficulty be awakened in subtle questions pertaining to the
archaeology of bowed instruments.
The views taken of the early history of the leading instrument have
not been more multiform than remote. The Violin has been made to
figure in history sacred and profane, and in lore classic and
barbaric. That an instrument which is at once the most perfect and the
most difficult, and withal the most beautiful and the most strangely
interesting, should have been thus glorified, hardly admits of wonder.
Enthusiasm is a noble passion, when tempered with reason. It cannot be
said, however, that the necessity of this qualification has been
invariably recognised by enthusiastic inquirers into the history of
instruments played with a bow. We have a curious instance of its
non-recognition in a treatise on the Viol,[1] written by a
distinguished old French Violist named Jean Rousseau. The author, bent
upon going to the root of his subject, begins with the Creation, and
speaks of Adam as a Violist. Perhaps Rousseau based his belief in the
existence of Fiddling at this early period of the world's history on
the words "and his brother's name was Jubal; from him descended the
Flute players and Fiddlers," as rendered by Luther.
[Footnote 1: "Traite de la Viole," Paris, 1687.]
The parts Orpheus and Apollo have been made to play in infantile
Fiddle history have necessarily been dependent upon the licence and
the imagination of the sculptor and the medallist. Inferences of
antiquity, however, have been drawn from such representations.
Tracings of a bow among the sculpture of the ancients have been sought
for in vain: no piece is known upon which a bow is distinguishable. A
century since, an important discovery was thought to have been made by
musical antiquarians in the Grand Duke's Tribuna at Florence, wherein
was a small figure of Apollo playing on a kind of Violin with
something of the nature of a bow. Inquiry, however, made it clear that
the figure belonged to modern art. Orpheus has been represented
holding a Violin in one hand and a bow in the other; inquiry again
showed that the Violin and the bow were added by the restorer of the
statue.
The views held by musical historians regarding the origin of the
Violin may be described by the terms Asiatic and Scandinavian. The
Eastern view, it need scarcely be said, is the most prolonged,
exceeding some five thousand years along the vista of time, where
little else is discoverable but what is visionary, mythical, and
unsubstantial. It is related--traditionally of course--that some three
thousand years before our era there lived a King of Ceylon named
Ravanon,[2] who invented a four-stringed instrument played with a bow,
and which was named after the inventor "the Ravanastron." If it were
possible to identify the instrument of that name, now known to the
Hindoos, as identical with that of King Ravanon--as M. Sonnerat
declares it to be--the Eastern view of our subject would be singularly
clear and defined. A declaration, however, resting on tradition,
necessarily makes the gathering of evidence in support of it a task
both dubious and difficult.[3]
[Footnote 2: M. Sonnerat, "Voyage aux Indes Orientales," 1806.]
[Footnote 3: In Mr. Engel's "Researches into the Early History of the
Violin Family," 1883--a book containing much valuable evidence on the
subject--the author rightly remarks: "Now, this may be true; still it
is likewise true that most of the Asiatic nations are gifted with a
remarkably powerful imagination, which evidently induces them
sometimes to assign a fabulously high age to any antiquity of theirs
the origin of which dates back to a period where history merges in
myth. At the present day the Hindoos possess, among their numerous
rude instruments of the Fiddle class, an extraordinarily primitive
contrivance, which they believe to be the instrument invented by
Ravanon. Their opinion has actually been adopted by some of our modern
musical historians as if it were a well established truth."]
It is said that Sanscrit scholars have met with names for the bow in
Sanscrit writings dating back nearly two thousand years. If this
information could be supplemented by reliable monumental evidence of
the existence of a bow of some rude kind among the nations of the East
about the commencement of the Christian era, its value would
necessarily be complete. In the absence of such evidence we are left
in doubt as to what was intended to be understood by the reported
references to a bow in ancient Sanscrit literature. The difficulty of
understanding what Greek and Roman authors meant, in reference to the
same subject, must be greatly intensified in the works of ancient
Eastern writers.[4]
[Footnote 4: In the "Reflections" at the end of Vol. I., "Burney's
History of Music," we read, "The ancients had instead of a bow, the
Plectrum." "It appears too clumsy to produce from the strings tones
that had either the sweetness or brilliancy of such as are drawn from
them by means of the bow or quill. But, notwithstanding it is
represented so massive, I should rather suppose it to have been a
quill, or piece of ivory in imitation of one, than a stick or blunt
piece of wood or ivory."]
The inquiry is simplified from the point of view of a Violinist if we
reject all bow-progenitors but those which have been strung with
fibre, silk, hair, or other material, the properties of which would
permit of the production of sustained sounds. Implements less
developed belong to a separate order of sound-producing contrivances,
namely plectra, and may be described as permitting strumming by
striking in place of twanging or twitching the strings. The imperfect
knowledge we have of instruments of the Fiddle kind in Europe,
belonging to a period many centuries later than that we are now
considering, points to their having been struck or strummed, and not
bowed with a view to the sounds being sustained.
The oldest known representation of a contrivance or instrument upon
which a string is stretched with a peg to adjust its tension, is
probably that described by Dr. Burney as having been seen by him at
Rome on an Egyptian obelisk. In a notice of Claudius Ptolemeus, an
Egyptian, who wrote upon harmonic sounds about the middle of the
second century, we have an illustration of an instrument of a similar
character to that found on the obelisk above noticed.[5] In all
probability neither of these contrivances was intended to be used as a
musical instrument further than for scientific purposes, as a means of
testing the tension of strings and the division of the scale: in
short, they were monochords and dichords.
[Footnote 5: Sir John Hawkins' History.]
In following the Eastern branch of our subject, it is necessary to
refer to the suggested Arabian origin of the Ribeca of the Italians
and the Rebec of the French--a little bowed instrument, shaped like
the half of a pear, and having therefore something of the character of
the mandoline. We have early mention of this particular view of Violin
history among the valuable and interesting manuscript notes of Sir
John Hawkins.[6] The author states that the Rebab was taken to Spain
by the Moors, "from whence it passed to Italy, and obtained the
appellation of Ribeca." He also refers to a work entitled "Shaw's
Travels," in which mention is made of the Rebeb or Rebab as an
instrument common in the East in the eighteenth century. It is,
however, upon turning to the dissertation on the invention and
improvement of stringed instruments by John Gunn, published in 1793,
that we first find a lucid account of Eastern influence in connection
with bowed instruments.[7] The author refers to the monochord as the
invention of the Arabians: he then says, "The early acquaintance which
it is probable the Egyptians had of the science and practice of music,
was the source whence the Arabians might derive their knowledge. There
is a remarkable correspondence between the dichord of the Egyptians
and an instrument of the like number of strings of the Arabians. This
instrument was played with a bow, and was probably introduced into
Europe by the Arabians of Spain, and well known from the Middle Ages
down to the last century by the name of the Rebec; it had probably, on
its first introduction, only two strings, as it still has among the
Moors, and soon after had the number increased to three. Dr. Shaw, who
had seen it, calls it a Violin with three strings, which is played on
with a bow, and called by the Moors Rebebb." In passing it may be said
that the translators of the Bible, historians, painters, and poets
have in many instances contributed greatly to the confusion attending
the history of bowed instruments from their inability to correctly
name and depict corded instruments. About a century after the
publication of Dr. Shaw's "Travels in the East," appeared Lane's
"Modern Egypt," wherein reference is made to an instrument named
Rebab. It is described as being made partly of parchment, and mounted
with one or two strings, played on with a bow. These instruments
appear to be identical. We do not usually look to the East for
progressiveness, and would therefore not expect to discover much
difference between a Rebab of the nineteenth century and one of the
eighth century. In taking this view we may therefore assume that the
existing Rebab has nearly all in common with its Eastern namesake of
the eighth century. The rude and gross character of the instrument is
remarkable, and renders any connection between it and the Rebec of
Europe in the Middle Ages somewhat difficult to realise. Having no
certain knowledge of the form of the ancient Rebab, our views
regarding its connection with the Rebec must necessarily be
speculative, and mainly dependent upon the etymological thread which
is drawn between the words Rebec and Rebab. It is worthy of notice in
relation to the opinion held by Sir John Hawkins and many other
musical historians as to a bowed instrument of the Fiddle kind having
been introduced into Spain from the East in the eighth century, that
we possess no certain evidence of bowed instrument cultivation in
Spain between the eighth and twelfth centuries, whilst we have proof
of the use of bowed instruments both in Germany and in England within
that period.[8] The evidence we have of the use of a description of
Viol at that time, from the carvings on the Portico della Gloria of
the Church of Santiago da Compostella, does not carry conviction that
a bow was used, since none is represented.[9]
[Footnote 6: Hawkins' "History of Music" was published in the year
1776. The MS. notes, which are attached to the author's copy in the
British Museum, were included in the edition published in 1853 by
Novello & Co.]
[Footnote 7: It may be remarked that nineteen years prior to the
publication of John Gunn's dissertation was published the valuable
work of Martinus Gerbertus, "De Cantu et Musica Sacra," dated 1774.
The volumes of Gerbertus were evidently perused with care and
attention by Gunn. The references of John Gunn to the work are the
earliest I have met with.]
[Footnote 8: Mention is made by Ash-Shakandi, who wrote on Moorish
music in Spain in the thirteenth century, of the Rebab. If this
instrument was not more developed than its modern namesake, we have
evidence of the Saxons being in possession of bowed instruments
infinitely superior at a much earlier date.]
[Footnote 9: In "The Violin and its Music," 1881, page 50, I have
assumed their use by the performers on the above mentioned arch,
believing it not improbable that the use of the bow was introduced by
the settlers in Spain from the North.]
That the Spanish were influenced by their Moorish conquerors with
regard to music, minstrelsy, and dancing is certain. The origin of
such movements as the Saraband, the Morisca (or Morris dance), and the
Chaconne,[10] has been traced to the East. That such dances should
have been accompanied by instruments of Eastern origin of the Lute
kind may be assumed. Both in Spain and southern France accompanying
instruments struck with plectra or twanged with the fingers were
adopted at a very early period, and the people of those parts attained
to a high state of proficiency--so much so indeed as to have rendered
the cultivation of this description of music a national characteristic
with them in the use of such instruments. The usage of the bow,
however, does not appear to have been cultivated sufficiently, if at
all, to leave its traces in history, until about the twelfth century,
when the Troubadours sought the aid of the Trouveres and Jongleurs.
The Trouveres were minstrel poets belonging to Northern France. The
Jongleurs entertained their patrons with jests and arch sayings, and
were often joined by the Gigeours of Germany, to accompany their lays
with their Geigen and kindred instruments.
[Footnote 10: It need scarcely be said that the Eastern and Spanish
ancestor of Bach's Chaconne was terpsichorean, and was unconnected
with any kind of scientific musical treatment.]
The foregoing remarks point to the absence of reliable evidence of the
existence of a bow--worthy of the name from the point of view of a
Violinist--among the Asiatic nations in the early centuries of our
era. The Ravanastron of India, the Rebab of Arabia, and other stringed
instruments used by the Persians and the Chinese, hardly admit of
being looked upon as links in the genealogical Fiddle chain. Whatever
the shape and use of ancient Eastern instruments--having something in
common with the European Violin--may have been, the slight apparent
affinity is accidental, and no real relationship exists between the
European and the Asiatic Fiddle.[11]
[Footnote 11: Mr. Engel, "Researches into the Early History of the
Violin Family," page 104, remarks: "It is rarely that the name of an
Asiatic musical instrument can be traced to a European origin. There
are, however, one or two instances in which this seems to be possible.
Thus, the Chinese name Ye-Yia, by which they occasionally designate
their Fiddle, may possibly be a corruption of _giga_ or _geige_,
considering that the common name of the Chinese Fiddle is Unheen, and
that Macao, where this instrument is said to be called Ye-Yin, has
been above three hundred years in the possession of the Portuguese,
and in constant communication with European nations." This seems to
deprive the argument of the Eastern origin of the Fiddle of weight,
and favours the already strong evidence of Scandinavian origin centred
in the word Geige.]
2.
The survey of the early history of bowed instruments in the North of
Europe necessarily discovers a broader field of ostensible data than
is possible to be found in the Asiatic view of the subject. Tradition,
accompanied by its attendant uncertainties, gives place to facts
recorded in illuminated manuscripts of the Middle Ages, on sculptured
stone, on engraved brasses, in the lay of the minstrel, in the song of
the poet, and, finally, in the works of the painter and of the
musician. The information obtainable from these several sources is
often of the slightest kind, and admits of little else than a rude
historical outline being drawn. The varied character of the evidence,
however, serves in some instances to counterbalance the lack of
detail.
Enquiry into the history of any science seldom fails to make us
acquainted with men whose views and opinions were formulated prior to
the production of well-digested evidence in favour of their
premises--a condition of things resulting oftentimes in their
judgments being post-dated, and their names in consequence severed
from them; in short--
"Elder times have worn the same,
Though new ones get the name."
In relation to our subject, the Hon. Roger North, Attorney-General to
King James the Second, occupies a position of the kind described. In
his work entitled "Memoirs of Music," written in the early part of the
eighteenth century, we have the ingenious author's views as to the
source from whence sprung the progenitor of the long line of Fiddle
and Viol. His treatment of the subject displays a truly commendable
amount of skill and judgment, and more so when we consider the limited
sources of information at his disposal in comparison with those at the
service of subsequent musical authors. He says, "There is no hint
where the Viol kind came first in use." "But as to the invention which
is so perfectly novel as not to have been heard of before Augustulus,
the last of the Roman Emperors, I cannot but esteem it perfectly
Gothic." "I suppose that at first it was like its native country, rude
and gross, and at the early importation it was of the lesser kind
which they called Viola da Bracchia, and since the Violin." He
concludes by expressing his belief that the Hebrews did not sound
their "lutes and guitars with the scratch of an horse-tail bow." These
opinions of Roger North are for the most part identical with those
held by well-known promoters of the Northern view of our subject.[12]
[Footnote 12: Paul Lacroix remarks, in "The Arts of the Middle Ages":
"Stringed instruments that were played on by means of bows were not
known before the fifth century, and belonged to the Northern races."
Sir Gore Ouseley, in his English edition of Naumann's "History of
Music," commenting upon the author's statement that "the Rebab was
introduced by Arabs into Southern Europe, and may be the precursor of
all our modern stringed instruments," says, "From this view I am
compelled to dissent," and speaks in favour of the Northern origin.
William Chappell, "Popular Music of the Olden Times," remarks: "I will
not follow M. Fetis in his newly adopted Eastern theory of the bow.
The only evidence he adduces is its present use in the East, and the
primitive form of Eastern instruments." "I would ask how comes it that
the bow was unknown to the Greeks and the Romans? Did not Alexander
the Great conquer India and Persia? And were not those countries
better known to the ancients than to the modern until within the last
three hundred years? The Spaniards derived their instruments from the
Moors, but the bow was not among them."]
About fifty years later than the date of North's "Memoirs of Music"
appeared the famous work of Martinus Gerbertus, entitled, "De Cantu et
Musica Sacra." Among the valuable manuscripts referred to by the
author is one which supplies the earliest known representation of a
bow instrument of the Fiddle kind, and which may be accepted as a
description of German Fiddle. The date of this particular manuscript
has been ascribed by M. Fetis to the ninth century. It may possibly
have belonged to an earlier period.[13]
[Footnote 13: As the manuscript was destroyed by the fire which burnt
nearly the whole of the buildings, Abbey, Church, and Library of St.
Blasius in the Black Forest in 1768, the language of Gerbertus, who
examined the original manuscript, is worthy of some attention. After
referring to certain plates, copied from a manuscript of the year 600,
he says that "the other twenty-three representations on the following
eighth plate" (in which is included the early German Fiddle) "are from
a manuscript a _little more recent_." Whether the period of three
centuries named by M. Fetis can be considered recent is at least
questionable. The information taken from this manuscript is of
paramount importance, with reference to the Asiatic and Northern views
of the origin of the Violin. The view taken by some authorities, that
the Europeans received their earliest instructions in infantile
Fiddling from the Moors, when they conquered Spain in the eighth
century, is already overclouded by the representation of a Fiddle and
bow on this German Manuscript, even assuming it to be of the ninth
century; but if its date be given prior to the appearance of the Moors
in Europe, the Eastern view of the subject is naturally further
darkened.]
The instrument was described in the manuscript of St. Blasius as a
Lyre. Gerbertus rightly observes that it has only one string, and is
more like a Cheli.[14] He quotes writers of different epochs relative
to the meaning of the word Lyre as used by them, the tendency of his
remarks apparently being to establish a connection between the German
Fiddle named a Lyre in the manuscript and the Rebec. The
representation we have of the instrument certainly conveys the idea of
its having been a progenitor of the Rebec of the French, the Ribeca of
the Italians, and the Fithele and the Geige of the Germans. The
mention of an instrument of the kind in a German manuscript,
discovered in an ancient German monastery, together with the record
being dated by Gerbertus as not far removed from the sixth century,
lends much weight to the opinion of Roger North with regard to the
part played by the Teutonic race in the early history of bowed
instruments.
[Footnote 14: The ancient name of corded instruments of the Lute,
Mandoline, and Guitar kinds. Tradition has it that the Nile, having
overflowed Egypt, left on shore a dead _Cheli_ (tortoise), the flesh
of which being dried in the sun, nothing was left within the shell but
nerves and cartilages, and these being braced and contracted were
rendered sonorous. Mercury, in walking, struck his foot against the
shell of the tortoise, and was delighted with the sound produced,
which gave him the idea of a Lyre that he later constructed in the
form of a tortoise, and strung with the dried sinews of dead animals.
This account of the origin of Lutes, Fiddles, and catgut is classic
and picturesque. Tradition and myth have played parts of much
consequence in the work of civilisation: they have, however, at length
fallen upon a critical and remarkably sceptical age, and rapidly fade
and die under the inquisitorial torture of modern inquiry--a result at
least to be expected from the contact of their own dreamy and delicate
nature with unromantic matter. It is perhaps safer to refer the origin
of the name Cheli or tortoise, as applied to corded instruments, to
the fact of their having sound chambers, constructed with
tortoise-shell, as was the case with the Greek Lyre, or to the
circumstance of the bodies of the instruments being shaped like the
tortoise. The Germans used the word Chelys to designate their Viols;
and Christopher Simpson, in his famous treatise on the "Viol da
Gamba," names it Chelys. The application of the word Chelys to bowed
instruments is suggestive of their remote connection with the ancient
Lyre.]
[Illustration: _Plate I_. ANTONIO STRADIVARI VIOLA. 1672.]
It is now necessary to refer to the well-known representation of a
Saxon Fiddle contained in the Cottonian manuscripts in the British
Museum. Strutt, in his "Sports and Pastimes," supplies us with a copy
of the illustration, which is that of a juggler throwing balls and
knives to the accompaniment of an instrument of the Fiddle kind.
Strutt ascribes the manuscript to the tenth century. The form of this
Fiddle is in advance of that supplied in the St. Blasius manuscript,
there being four strings, but there is no bridge indicated, and, had
there been, it would not have evidenced a Saxon knowledge of tuning
the strings to given intervals, and playing upon each string. The
little light which has been thrown on the condition of instrumental
music at the time renders it doubtful whether any bowed instrument was
used, other than for the purpose of rendering a rude extemporaneous
accompaniment to the voice or the dance.
The chief authorities upon ancient minstrelsy agree that the Saxon's
love of music was cultivated for centuries with ardour by his Saxon
ancestors; it would therefore be reasonable to believe that his
knowledge of rude Fiddles was derived from the land of his
forefathers, and not from any instrument he discovered in Britain.[15]
The similarity of the instrument of the St. Blasius manuscript and of
that in the hands of the Saxon Gleeman in the Cottonian manuscript is
evidence of Teutonic origin. It is, moreover, strengthened by the fact
of the use of the word Fithele by the Anglo-Saxons for nearly two
centuries after the Norman Conquest, which name was adopted with but
little variation by the whole of the Teutonic race.[16] In Germany the
word was used as late as the twelfth century. About this period the
word Geige appears to have been applied in Germany to designate a
Fiddle. It is described as an improved Rebec, and strung with three
strings.[17] The use of the word Geige in Germany instead of Fithele
in the twelfth century, is worthy of attention as bearing upon
Teutonic origin. The earliest information we have of the use of the
Geige in France is in connection with the Jongleurs. The Geige was
popular in France until the fifteenth century, when, as M. Lacroix
says, it disappeared, leaving its name "as the designation of a joyous
dance, which for a considerable period was enlivened by the sound of
the instrument." The word Geige, I am inclined to think, is important
as furnishing evidence of historical value in relation to the ancestry
of the Violin. Lacroix believes that Germany created the Geige; other
authorities are of opinion that it originated among the people of
Provence. The former view is supported by the strongest evidence. Some
inquirers derive the word Geige from the French and Italian words for
leg of mutton.[18] Wigand, however, supposes it to be derived from the
old northern word _Geiga_, meaning trembling, or from _Gigel_, to
quiver. If we consider the nature and character of the instrument,
this view of the derivation of the word appears both ingenious and
correct. Roger North shrewdly conjectured that the "rude and gross"
Gothic Fiddle "used to stir up the vulgar to dancing, or perhaps to
solemnise their idolatrous sacrifices." In the Dark Ages dancing may
have been regarded as bi-pedal trembling. I have remarked in another
place,[19] "In the early ages of mankind dancing or jigging must have
been done to the sound of the voice, next to that of the pipe, and,
when the bow was discovered, to that of a stringed instrument which
was named the Geige from its primary association with dancing." The
evidence we have of the use to which the leading instrument was put in
the days of its adolescence is indicative of its having grown up among
dancers, jugglers, and buffoons. In Germany its players gave fame and
name to a distinct class of itinerant minstrels named the Gigeours,
who were often associated with the Jongleurs in their perambulations.
In France, from the days of the Jongleurs to those of Henry IV., and
later to those of Louis XIV., the instrument was wedded to the dance.
In England to the time of Charles II. it was in the hands of the
Fiddler, who accompanied the jig, the hornpipe, the round, and the
North Country frisk.
[Footnote 15: In Carl Engel's "Researches into the Early History of
the Violin Family," 1883, the author disbelieves in the Crwth having
been the lineal ancestor of the Violin, and there can be but little
doubt of the correctness of his opinion.]
[Footnote 16: It is worthy of remark that the Northmen, who invaded
and gave their name to Normandy, carried from their Scandinavian homes
a love of minstrelsy.]
[Footnote 17: Sebastian Wirdung, a priest, published a work in 1511,
in which he describes the bow instruments of his time by the names
Gross-Geigen and Klein-Geigen. The illustration of the Klein-Geige
differs but little from the Rebec; it has three strings, whilst the
Gross-Geige has nine. Further information is supplied by the work of
Martin Agricola, published in 1529.--_Mendel's German Musical
Dictionary, article "Violine."_]
[Footnote 18: "Almost all our musical writers state, as if it were a
well-ascertained fact, that the German word Geige is derived from the
_Gigue_ of the French Minstrels, who, during the 13th and 14th
centuries, had a sort of _Rebec_ which they called by that name, and
which, according to some commentators, resembled in outward appearance
the shank of a goat or ram, called _Gigot_, and hence the origin of
all the similar words occurring in different European languages. These
commentators have, however, neglected to prove that the old French
word Gigue occurs before the 13th century, or that it is earlier than
the Middle High German _Gige_."--_Engel's "Researches into the History
of the Violin Family."_]
[Footnote 19: "The Violin and its Music," 1881, page 19.]
In pursuing the course of our subject, our inquiries have hitherto
been mainly concerned with the leading instrument in a barbarous and
semi-barbarous state. We now reach what may be termed the transition
stage of the question. The information relative to the appearance of
the Geige, or Violin tuned in fifths, is of the slenderest kind. To
obtain evidence of much worth it is necessary to reflect upon the
condition of instrumental music about the sixteenth century, together
with the form and character of bowed instruments belonging to the same
period. The manners and customs of peoples have also to be considered.
We have hitherto found the Geige or Fiddle among minstrels and
itinerant musicians in countries where music and minstrelsy had become
an institution with the people. The instrument was rude and gross, and
its office was to play extemporaneous accompaniments, with
considerable licence. At length domestic music began to be zealously
cultivated in Germany and the Low Countries, to which important
circumstance the rapid development of stringed instruments is
traceable. Viols of various kinds supported the voices, and an
important manufacture of such instruments took root in Nuremberg and
other German cities. In following the history of the Madrigal much
light is thrown upon that of the Viol, to which it is necessary to
give attention in order to follow in some degree the development of
the Violin.
The condition of music in Italy previous to the time when the father
of the Madrigal, Adrian Willaert, followed in the steps of his
countrymen and made Italy his home, presents a great contrast to the
state of the art in Germany and the Netherlands about the same period.
The love of music in these countries had been growing among the
people from the days of their minstrel poets and their wandering
musicians. In Italy minstrelsy received but little attention or
encouragement. The effect of this was probably felt when that
extraordinary love of culture and admiration for art manifested itself
amid the courts of her princes, about the middle of the fifteenth
century. The love of melody then, as now, was deeply rooted in the
nature of her people. Musical composition, however, of a high order,
and able executants, were to be found elsewhere, and in Flanders in
particular, and there the principal music and musicians were sought by
the Italian _dilettanti_. To this fortuitous combination of melody and
musical learning we owe the greatest achievements in the art of music.
Upon it was raised the work of Palestrina, Scarlatti, and Corelli,
which their distinguished followers utilised with such judgment and
effect. The progress and development of the Madrigal in Italy may be
said to have been co-equal with that of the Viol, for which its music
served, and to which the Italians gave the same beauty of form and
exquisite refinement. The ingenuity and skilfulness of the early
German Viol makers was not less speedily recognised by the Italians
than was the learning and power manifested by the Flemish motet
writers. The work of the Italians with regard to both the Madrigal and
the Viol was artistic in the highest degree, and such as could alone
have been accomplished by men nourished on the teachings of the
Renaissance, and surrounded by its chief glories.
There is evidence of German influence over the Italian Viol
manufacture at the end of the fifteenth century, in the
German-sounding names of makers located in Italy, and likewise in the
character and construction of the oldest Italian Viols: notably, there
is the crescent-shaped sound-hole common to the German Grosse-Geige
and Klein-Geige. The most ancient Viols in existence are those by
Hieronymus Brensius of Bologna, two of which are in the Museum of the
Academy of Music at Bologna, and a third is in my possession. They
have labels printed in Roman letters, and doubtless belong to the end
of the fifteenth century. These instruments serve to illustrate the
condition of the art of Viol-making in Italy at that period. They are
rude in form and workmanship, and present a marked contrast to the
high artistic work associated with the Italians in other branches of
industry. This rudeness is indicative of this particular manufacture
being of recent importation, and of its having been received from
Germany, and partly perhaps from the Low Countries, where instrumental
music was cultivated chiefly by the people, in which case utility
would naturally have priority of design and workmanship. With the
introduction of Viols, in connection with the Madrigal, into the
palaces of Italy, together with their increased use in connection with
the service of the Church, a demand speedily arose for instruments of
elegant design and finished workmanship, in keeping with the high
standard raised by Italian artists in every direction. The work on the
Viol by Silvestro Ganassi, published at Venice in 1543, furnishes us
with ample proof of the advance made by the Italians in Viol-making
since Brensius worked. We see from a representation of a Viol in the
above-mentioned work that the sound-holes are better formed, the
scroll is artistically designed, and the whole harmonious. These steps
towards perfection were mounted by Duiffoprugcar and Gasparo da Salo,
both of whom rapidly developed the art. With Gasparo da Salo, or a
contemporary, was witnessed the rejection of the crescent-formed
sound-hole, and the adoption of that which has held its own for
upwards of three centuries. The sound-holes of the Amati and of
Stradivari are but those of Gasparo and his contemporaries, marked
with their own individuality. All Viols until about 1520 were
furnished with pieces of gut tied round the neck and fingerboard to
mark the divisions of the scale--in short, were fretted. From the work
of Ganassi we learn that the use of these divisions was optional, thus
supplying us with authentic information of considerable value with
regard to the gradual emancipation of this class of instrument from
frets, and foreshadowing the union of the Geige or Fiddle with the
Viol. Passing to the question of form given by the Italians, early in
the sixteenth century, to Viols, we find the Violono or Bass Viol with
its upper and lower sides, middle bouts, belly, and sound-holes almost
identical with those of the Tenor Viols, the chief difference being in
the back of the latter, which is modelled, whilst the former is flat.
This was the form given to the Violono by Gasparo da Salo, and which
has been changed in the upper portion of the body of the instrument,
to permit of modern passages being executed with greater facility. The
original finger-board was short, and generally fretted. The number of
strings was five or more, and not as we now string them with three or
four. It will be seen that this form of instrument gives us what Mr.
Charles Reade describes as the invention of Italy, namely "the four
corners."[20] The same author in speaking of the order of invention
remarks that he is puzzled "to time the Violono, or as we childishly
call it (after its known descendant) the Double Bass. If I were so
presumptuous as to trust to my eye alone, I should say it was the
first of them all." With this opinion I entirely agree, and I am also
in unison with Mr. Reade in believing that the large Viola (played on
or between the knees) was the next creation, the design of which was
that of the Violono or Double Bass already referred to. The next and
most important step was in all probability to make the common Geige or
three-stringed Fiddle of the same shape as these Tenor and Contralto
Viols, thus handing to us the present-shaped Violin. In the MS. notes
of Lancetti, reference is made to a three-stringed Violin in the
collection of Count Cozio di Salabue, which throws some light upon the
question as to three-stringed Violins, of the form of the Italian
Viola, having been made prior to the introduction of those with four
strings tuned in fifths. The instrument to which Lancetti refers was
dated 1546, and was attributed to Andrea Amati. Until the beginning of
the present century, this instrument remained in its original
condition, when it was altered by the Brothers Mantegazza of Milan
into a Violin with four strings. Mention of this curious and valuable
fact furnishes us with the sole record of a three-stringed Violin
having been in existence during the nineteenth century, and also
supplies the link needful to connect the old type of Fiddle with the
perfect instrument of the great Italian makers. When or where the
four-stringed Violin tuned in fifths first appeared in Italy is a
question the answer to which must ever remain buried in the past. It
may have seen the light in Mantua, Bologna, or Brescia. The
last-mentioned town is usually associated with its advent, and to
Gasparo da Salo is given the credit of its authorship.
[Footnote 20: "Cremona Violins," _Pall Mall Gazette_, 1872. This
reference applies to the corners and corner-blocks as made by Gasparo
and all makers to the present time, in contradistinction to those seen
in the Viol da Gamba and early German Viols.]
SECTION II
The Construction of the Violin
The construction of the present form of the Violin has occupied the
attention of many scientific men. It cannot be denied that the subject
possesses a charm sufficiently powerful to induce research, as
endeavour 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. It 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 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,[1] 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 the contemplation of
the beauties of a Cremonese Violin.
[Footnote 1: A technical term for the sides.]
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 which the eye detects upon
its varied surface, one leading to another, and all duly proportioned
to the whole figure, may remind us of the winding 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, colour, 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 inaccuracy 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 tastes 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
the sole instrument incapable of improvement, whether in form or in
any other material feature. The only difference 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. The object of them was the
need of adapting the instrument to modern requirements, 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 musical instruments. These
somewhat desultory remarks may suffice to trace the origin of the
value set upon the Violin both as a work of art and as a musical
instrument.
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 its construction. In Brescia, which was
in all probability the cradle of Violin manufacture, the selection of
the material of the sides and back from the pear, lemon, and ash trees
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
considered 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 Tenors, 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 sounds of the diatonic scale. By comparing the
intensity and quality of tone produced by each sample of wood,
plane-tree[2] and sycamore have been found to surpass the rest. The
Cremonese makers seem to have adhered chiefly to the use of 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. 1 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.
[Illustration: FIG. 1.]
[Illustration: FIG. 2.]
[Footnote 2: The Germans call the plane-tree _morgenlandischer
ahorn_--_i.e._, "oriental maple." From the German word _ahorn_ is
probably derived the term "air wood," often corrupted into
"hair-wood." Thomas Mace says, respecting the lute, "the air-wood is
absolutely the best, and next to that our English maple."--_Engel_
("Researches into the Early History of the Violin Family").]
[Illustration: _Plate II_. JACOBUS STAINER. Date 1669. GIUSEPPE
GUARNERI DEL GESU. (THE "VIEUXTEMPS.") NICCOLO AMATI. _Grand Pattern_.
Date 1641. (J. S. COOKE, ESQ.)]
This mode of cutting is constantly met with in the works of the
Brescian makers, and likewise in those of the early Cremonese. Andrea
Amati invariably adopted this form. Stradivari rarely cut his wood
slab-form. Joseph Guarneri made a few Violins of his best epoch with
this cutting, the varnish on which is of an exquisite orange colour,
so transparent that the curls of the wood beneath resemble richly
illuminated clouds.
There can be no doubt whatever that the Cremonese and Brescian makers
were exceedingly choice in the selection of their material, and their
discrimination in this particular does not appear to have risen 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
question in the frequent piecings found on the works of Cremona
makers, pointing to a seeming preference on their part 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.
The time and care required for such a delicate operation must have
been sufficient to have enabled the maker, had he been so minded, to
have made a complete instrument. There is also ample proof that Joseph
Guarneri possessed wood to the exceptional qualities of which he was
fully alive, and the same may be said of Stradivari, Ruggeri, 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.
They were men who 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 or bad, could not have
been the cause, since we find Italian cabinet-work of great beauty
that was manufactured at this same period. The plane-tree and pine
used by the Amati, Stradivari, and the chief masters in Italy, was
usually of foreign growth, and was taken from the Tyrol and Istria.
Its value was, therefore, in advance of Italian wood, but hardly so
much as to place it beyond the reach of the Cremonese masters. 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 accounted for by the solution before proposed,
viz., that external appearance was of less importance than the
possession of acoustic properties thoroughly adapted to the old
makers' purpose, 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
perfection. 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 manufacture rests the
secret of the Italian success, and until it is rediscovered the
Cremonese will remain unequalled in the manufacture of Violins.
We may now pass to the consideration of the various 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 separate parts, an
astonishing number of factors for so small and simple-looking an
instrument. The back is made of maple or sycamore, in one or two
parts; the belly of the finest quality of Swiss pine, and from a piece
usually divided; the sides, like the back, of maple, in six pieces,
bent to the required form by means of 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 vibrating by
giving about the same position as the line of the strings. The
divergence is usually one-twelfth of an inch, throughout its entire
length of ten inches. It is curious to discover that this system of
placing the bar was adopted by Brensius of Bologna, a Viol-maker of
the fifteenth century, and by Gasparo da Salo. The later
Violin-makers, however, for the most part, do not appear to have
followed the example, they having placed it in a straight line, thus
leaving the system to be re-discovered. The bar of the Violin not only
serves the 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 interesting; it may indeed be
called the nervous system of the Violin, so exquisitely sensitive is
it to external touch. The slightest alteration 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 adjustment are sometimes removed, or 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 realisation of the coveted discovery appears as
distant as ever. The most minute variation in the construction of the
instrument necessitates a different treatment 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. It is the medium by which the vibratory
powers of the instrument are set in motion; it gives support to the
right side of the belly, it transmits vibrations, and regulates both
the power and quality of tone. The terms used for this vital factor of
a Violin on the Continent at once prove its importance. The Italians
and French call it the "Soul," and the Germans the "Voice." If we
accept the bass-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 of sound are regulated by this admirable
contrivance. If mellowness of quality be sought, a slight alteration
of its position or form will produce a favourable 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 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 instrument. If the Violin be
high-built, the post requires to be nearer the bridge, that its action
may be stronger; whilst flat-modelled instruments 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 variations in
the thickness, outline, model, &c., 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 constitution 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
plane-tree. 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, in regard to its appearance and as to 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 instrument. Modern requirements have made it
imperative that the neck should be well shaped, neither too flat nor
too round, but of a happy medium. The difficulties of execution are
sensibly lessened when due 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 made 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 the
finger-board.
The purfling is composed of three strips of lime-tree, two of which
are stained black. Whalebone purfling has been frequently used,
particularly by the old Amsterdam makers.
The principal parts of the instrument have now been described, and
there remain only the pegs, blocks, 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.
The sound-holes, or _f_-holes, it is almost needless to remark, are
features of vital importance. Upon the form given to them, and the
manner of cutting them, largely depend the volume and quality of tone.
The Italian makers of Brescia and Cremona appear to have been aware of
the singular influence the formation of the sound-hole has upon the
production and quality of sound. The variety of original shapes they
gave to them is evidence of their knowledge. Appearance in keeping
with the outline of their design may have influenced them in some
measure, but not entirely. Most makers used patterns from which to cut
their sound-holes; Joseph Guarneri and some others appear to have
drawn them on the belly, and cut them accordingly.
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.
In conclusion, I cannot refrain from cautioning possessors of good
instruments against entrusting them into the barbaric hands of
pretended repairers, who endeavour to persuade them into the belief
that it is necessary to do this, 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, &c., 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
Upon 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 bass-bar, strings are added
which have not been selected with due care and regard to their
relative proportion, the labour 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 endeavour to make
himself acquainted with the different varieties and powers of strings,
that he may arrange his instrument with due facility.
The remarkable conservatism attending the structural formation of the
Violin exists more or less in the appliances necessary for the
awakening of its dormant music. If we turn to its pegs, we find them
of the same character as the peg of its far-removed ancestor, the
monochord; and if we compare the Italian peg of the seventeenth
century with a modern one, the chief difference lies in the latter
being more gross and ugly. Upon turning to the bridge, we see that the
bridge of to-day is almost identical with the bridge of Stradivari;
and when we come to the strings of the Violin, we discover that we
have added but little, if anything, to the store of information
regarding them possessed by our forefathers.
In, perhaps, the earliest book on the Lute, that of Adrian Le Roy,
published in Paris in 1570, and translated into English in 1574,[1] we
read: "I will not omit to give you to understand how to know strings."
"It is needful to prove them between the hands in the manner set forth
in the figures hereafter pictured, which show on the finger and to the
eye the difference from the true with the false." The instructions
here given, it will be seen, are those set forth by Louis Spohr in his
"Violin School." In the famous musical work of Merseene, published in
1648, we find an interesting account of strings; he says they are of
"metal, and the intestines of sheep." "The thicker chords of the great
Viols and of Lutes are made of thirty or forty single intestines, and
the best are made in Rome and some other cities in Italy. This
superiority is owing to the air, the water, or the herbage on which
the sheep of Italy feed." He adds that "chords may be made of silk,
flax, or other material," but that "animal chords are far the best."
The experience of upwards of two centuries has not shaken the
soundness of Merseene's opinion of the superiority of gut strings over
those made of silk and steel. Although strings of steel and silk are
made to some extent on account of their durability and their fitness
for warm climates, no Violinist familiar with the true quality of tone
belonging to his instrument is likely to torture his ears with the
sound of strings made with thread or iron. Continuing our inquiries
among the old musical writers in reference to the subject of strings,
we find Doni says in his musical treatise, published in 1647: "There
are many particulars relating to the construction of instruments which
are unknown to modern artificers, as, namely, that the best strings
are made when the north and the worst when the south wind blows," a
truism well understood by experienced string manufacturers. Thomas
Mace, in his curious book on the Lute, enters at some length into the
question of strings, and speaks in glowing terms of his _Venetian
Catlins_. The above references to strings, met with in the writers of
the sixteenth and seventeenth centuries, indicate a full knowledge of
the most important facts concerning them on the part of the musicians
and makers of those days; and notwithstanding our superior mechanical
contrivances in the manufacture, it is doubtful whether modern strings
are generally equal to those made in times when leisure waited on
quality, in lieu of speed on quantity.
[Footnote 1: Fetis, in his notice of Le Roy, states that the first
edition of this rare book was published in 1557, and was translated by
J. Alford into English in 1568.]
[Illustration: Hands testing strings.]
Musical strings are manufactured in Italy, Germany, France, and
England. The Italians rank first, as in past times, in this
manufacture, their proficiency being evident in the three chief
requisites for string, 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 smoother 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 colour. The variations described are distinct, and the
more remarkable that all the four kinds are produced by one and the
same nation; as, however, the raw material is identical throughout
Italy, the process of manufacture must be looked upon as the real
cause of the difference noticed. 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 appearance.
The cause of variation in quality of the several kinds enumerated
arises simply from the difference of climate. In Italy an important
part of the 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 degree; while England is obliged to rely
solely on artificial processes. It therefore amounts to this--the
further from Italy the seat of manufacture, the more inferior the
string.
From the foregoing references we find that strings, although called
"catgut," are not made from the intestines of that domestic animal.
Whether they were originally so made, and hence derive their name, it
is impossible to learn. Marston, the old dramatist, says:
"How the musicians
Hover with nimble sticks o'er squeaking Crowds,[2]
Tickling the dried guts of a mewing cat."
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 need 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-honoured error is thus commemorated in a
word, the origin of which 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 intestines 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 strings of small size, which have to bear so great a
strain that if they were not made of the best material there would be
little chance of their endurance. To enter into a description of the
various processes of the manufacture is unnecessary, as it would form
a subject of little interest to the general reader; we may therefore
conclude this brief notice of strings by a few rules to be observed in
their selection.
[Footnote 2: The old English name for a Fiddle.]
Endeavour to obtain strings of uniform thickness throughout, 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 made with several threads, are seldom very clear.
The firsts never have more than a few threads in them, and hence,
absence of transparency in their case denotes inferior material.
Before putting on the first string, in particular, in order to test
its purity it will be well to follow Le Roy's advice, 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 only be apparent, the string is free from falseness; but 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 line from 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 and uniform 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 larger size may be used with
advantage, and particularly when such instruments are in use for
orchestral purposes.
[Illustration: _Plate III_. VIOLONCELLO BY ANTONIO STRADIVARI.
PRESENTED TO SIGNOR PIATTI BY GENERAL OLIVER. (Herr Robert
Mendelssohn.)]
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, Tenors, 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 fingering quite exceptional.
Dragonetti, the famous Double-Bass player, and coadjutor of Lindley,
possessed similar powers, and used similar strings as regards size.
Their system of stringing was adopted indiscriminately. Instruments
whether weakly or strongly built received uniform treatment, the
result being in many cases an entire collapse, and the most
disappointing effects in tone. It was vainly supposed 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
gradually, 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 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 artistes; there are
those of copper plated with silver, and also of copper without
plating, which have a powerful 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 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 understood. There are Violins which will take none but fourths of
copper, there are others that would 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 humoured, 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.
The strain and pressure of the strings upon a Violin being an
interesting subject of inquiry, I give the annexed particulars (_see_
Table below) from experiments made in conjunction with a friend
interested in the subject, and possessed of the necessary knowledge to
arrive at accurate results.
* * * * *
The Violin being held in a frame in a nearly upright position, so that
the string hung just clear of the nut to avoid friction, the note was
obtained by pressing the string to the nut.
When the Violin was laid in a horizontal position, and the string
passed over a small pulley, an additional weight of two or three
pounds was required to overcome the friction on the nut and that of
the pulley. Therefore it is probable that the difference in the
results obtained by other experiments may have arisen from the
different methods employed. But with a dead weight hung on the end of
each string there could be no error.
TENSION OF VIOLIN STRINGS.
_Ascertained by Hanging a Dead Weight on the End of the String_.
+-------+--------+------------+------------+------------+------------+
| | |Tension in | | | |
| | |lbs. Weight,| | | |
| | |hung on the | | Downward | Downward |
| | |end of the | | Pressure | Pressure |
| | |String to | Downward | on the | on the |
|Number | |bring it to | Pressure | Treble Foot| Bass Foot |
|of the | |Concert | on the | of the | of the |
|String.| SIZE. |Pitch. | Bridge. | Bridge. | Bridge. |
+-------+--------+------------+------------+------------+------------+
| | | lb. | lb. oz. | lb. oz. | lb. oz. |
| 1st | Thick | 23 | 10 3-1/4 | 10 3-1/4 | ---- |
| " | Medium | 22 | 9 12 | 9 12 | ---- |
| " | Small | 18 | 8 0 | 8 0 | ---- |
| | | | | | |
| 2nd | Thick | 15-1/2 | 6 14 | 4 9-1/2 | 2 4-1/2 |
| " | Medium | 15-1/4 | 6 11-1/4 | 4 7-1/4 | 2 4 |
| " | Small | 13-1/2 | 6 0 | 4 0 | 2 0 |
| | | | | | |
| 3rd | Thick | 13-1/4 | 5 14 | 1 15-1/4 | 3 14-3/4 |
| " | Medium | 12-3/4 | 5 10-1/2 | 1 13-3/4 | 3 12-3/4 |
| " | Small | 11 | 4 14 | 1 10 | 3 4 |
| | | | | | |
| 4th | Thick | 11 | 4 14 | ---- | 4 14 |
| " | Medium | 10-1/2 | 4 10-1/2 | ---- | 4 10-1/2 |
| " | Small | Say 10 | 4 7 | ---- | 4 7 |
| | | | | |
| The total of | | | | |
| four thick | | | | |
| strings is | 62-3/4 | 27 13-1/4 | 16 12 | 11 1-1/4 |
| | | | | |
| The total of | | | | |
| four small | | | | |
| strings is | 52-1/2 | 23 5 | 13 10 | 9 11 |
+----------------+------------+------------+------------+------------+
B A C is the average angle formed by a string passing over the bridge
of a Violin, and the tension acts equally in the direction A B, A C.
[Illustration of angles of the strings.]
Take A C=A B.
From the point B draw B D parallel to A C. And from the point C draw
C D parallel to A B, cutting B D at D.
Join A D.
Then, if a force acting on the point A, in the direction of A B, be
represented in magnitude by the line A B, an equal force acting in the
direction A C will be represented by the line A C, and the diagonal
A D will represent the direction and magnitude of the force acting on
the point A, to keep it at rest.
N.B.--The bridge of a Violin does not divide the angle B A C quite
equally, but so nearly that A D may be taken as the position of the
bridge.
Also, the plane passing through the string of a Violin, on both sides
of the bridge, is not quite perpendicular to the belly. To introduce
this variation into the calculation would render that less simple, and
it will be sufficient to state that about the 150th part must be
deducted from the downward pressures given in the above table from the
first and fourth strings, and about the 300th part for the second and
third strings. The total to be deducted for the four strings will not
exceed three ounces.
On the line A B or A C set off a scale of equal parts, beginning at A,
and on A D a similar scale beginning at A.
Mark off on the scale A B as many divisions as there are lbs. in the
tension of a string, for example 18, and from that point draw a line
parallel to B D, cutting A D at the point 8 in that scale. Then, if
the tension of a string be 18 lb., the downward pressure on the bridge
will be 8 lb.; and therefore for the above angle the downward pressure
of any string on the bridge will be 8/18=4/9 of the tension of that
string.
The whole of the downward pressure of the first string falls upon the
Treble Foot of the Bridge.
The downward pressure of the second string is about 2/3 the Treble
Foot of the Bridge, and 1/3 on the Bass Foot.
The downward pressure of the third string is about 1/3 on the Treble
Foot, and 2/3 on the Bass Foot.
The whole of the downward pressure of the fourth string falls upon the
Bass Foot of the Bridge.
SECTION IV
The Italian School
The fifteenth century may be considered as the period when the art of
making instruments of the Viol class took root in Italy, a period rich
in men labouring in the cause of Art. The long list of honoured names
connected with Art in Italy during 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 into which Italy must be
judged to have sunk in point of merit, when measured by the high
standard which in former days she set herself. But perhaps the
greatest marvel of all is the rapidity of the decadence when it once
set in, as it did immediately after the culminating point of artistic
fame had been reached.
To reflect for a moment upon the many famous men in Italy engaged in
artistic vocations contemporary with the great Viol and Violin makers
cannot fail to be interesting to the lovers of our instrument, for it
has the effect of surrounding their favourite with an interest
extending beyond its own path. It also serves to make prominent the
curious fact that the art of Italian Violin-making emerged from its
chrysalis state when the painters of Italy displayed their greatest
strength of genius, and perfected itself when the Fine Arts of Italy
were cast in comparative darkness. It is both interesting and
remarkable that the art of Italian Violin-making--which in its infancy
shared with all the arts the advantage attending the revival of art
and learning--should have been the last to mature and die.
Whilst the artist, scientist, and musician, Leonardo da Vinci, was
painting, inventing, and singing his sonnets to the accompaniment of
his Lute; whilst Raphael was executing the commands of Leo X., and
Giorgio was superintending the manufacture of his inimitable majolica
ware, the Viol-makers of Bologna were designing their instruments and
assimilating them to the registers of the human voice, in order that
the parts of Church and chamber madrigals might be played instead of
sung, or that the voices might be sustained by the instruments.[1]
[Footnote 1: The importance of this epoch in its bearings upon
instrumental music generally, and stringed instrument music in
particular, can hardly be over-estimated. It may be said that in the
Middle Ages no written music for instruments existed. The melodies and
accompaniments produced from instruments were either extemporaneous or
parrot-like imitations of vocal music. Madrigals and a few dances
constituted the food upon which instruments were nursed until towards
the close of the sixteenth century, when Gabrielli, or a contemporary
musician, prepared a special and distinct aliment, the outcome of
which is found in the symphonies of Haydn, Mozart, and Beethoven.]
If we turn to the days of Gasparo da Salo, Maggini, and Andrea Amati,
we find that while they were sending forth their Fiddles, Titian was
painting his immortal works, and Benvenuto Cellini, the greatest
goldsmith of his own or any age, was setting the jewels of popes and
princes, and enamelling the bindings of their books. Whilst the
master-minds of Antonio Stradivari and Giuseppe Guarneri del Gesu were
occupied with those instruments which have caused their names to be
known throughout the civilised world (and _un_civilised 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 painting his Venetian squares and canals, Venetians
whose names are unrecorded were blowing glass of wondrous form and
beauty. At the same time, in the musical world, Corelli was writing
his jigs and sarabands, Geminiani penning one of the first instruction
books for the Violin, and 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 succeeding 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 contemporary 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 favourable to the
production of works possessing a high degree of merit, cannot be
doubted. They were surrounded by composers of rare powers, and also by
numerous orchestras. These orchestras, composed mainly of stringed
instruments, were scattered all over Italy, Germany, and France, in
churches, convents, and palaces, and must 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, Orlando di Lasso, Isaac, and Palestrina were
engaged in writing Church music, in which stringed instruments were
heard; 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 is the constellation of Veracini, Geminiani, Vivaldi,
Locatelli, Boccherini, Tartini, Viotti, Nardini, among the Italians;
while in France it is the epoch of Leclair 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 those of tried ability readily
obtained highly remunerative prices for their instruments, and were
encouraged in their march towards perfection both in design and
workmanship. 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, Charles IX.,
Cardinal Ottoboni (with whom Corelli was in high favour), Cardinal
Orsini (afterwards Pope Benedict XIII.), Victor Amadeus Duke of Savoy,
the Duke of Modena, the Marquis Ariberti, Charles III. (afterwards
Charles VI., Emperor of Germany), and the Elector of Bavaria, 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 centre 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 subordinate, and made subservient, 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 labours, 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.
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 manufacture. 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 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 manufactured 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 different
schools. The first is that of Brescia, dating from about 1520 to 1620,
which includes Gasparo da Salo, Maggini, 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, Girolamo Amati, Antonio Amati, Niccolo Amati, Girolamo
Amati, son of Niccolo; Andrea Guarneri, Pietro Guarneri, Giuseppe
Guarneri, the son of Andrea; Giuseppe Guarneri ("del Gesu"), the
nephew of Andrea; Antonio Stradivari, and Carlo Bergonzi. Several
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 Testore, Paolo
Testore, the Gagliano family, and Ferdinando Landolfi. The makers of
Florence, Bologna, and Rome may likewise be classed together in a
school that dates from 1680 to 1760, and includes the following names:
Gabrielli, Anselmo, Tecchler, and Tononi. The Venetian school, dating
from 1690 to 1764, has two very prominent members in Domenico
Montagnana and Santo 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 characteristics
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. Roger North, in his "Memoirs of Musick,"
evidences the demand for Italian Violins in the days of James II. He
remarks: "Most of the young nobility and gentry that have travelled
into Italy affected to learn of Corelli, and brought home with them
such favour for the Italian music, as hath given it possession of our
Parnassus. And the best utensil of Apollo, _the Violin_, is so
universally courted and sought after, to be had of the best sort, that
some say England hath dispeopled Italy of Violins." We also read of
William Corbett, a member of the King's band, having formed about the
year 1710 a "gallery of Cremonys and Stainers" during his residence in
Rome.
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
Maller, of Venice) cannot be counted among Violin-makers. The only
maker, therefore, of the Violin of the earliest date, it remains to be
said, was Gasparo da Salo, to whom belongs the credit of raising the
manufacture of bowed instruments from a rude state to an art. There
may be something in common between the early works of Gasparo da Salo
and 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 Gasparo da Salo.
We are indebted to Brescia for the many grand Double-basses and Tenors
that were made there by Gasparo da Salo and Maggini. These instruments
formed the stepping-stones to Italian 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 Tenors, 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.
[Illustration: _Plate IV_. ANTONIO STRADIVARI. Date 1734. (LATE LORD
AMHERST OF HACKNEY.) THE EMPEROR "STRAD." Date 1715. (LATE GEO.
HADDOCK, ESQ.) GUARNERI DEL GESU. Date 1734. (LATE LORD AMHERST OF
HACKNEY.)]
From Brescia came the masters who established the School of Cremona.
The Amatis took the lead, their founder being Andrea Amati, after whom
each one of the clan appears to have gained a march on his
predecessor, until the grand masters of their art, Antonio Stradivari
and Giuseppe Guarneri del Gesu, advanced far beyond the reach of their
fellow-makers or followers. The pupils of the Amati, Stradivari, and
Guarneri 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 common among them. A
visible individuality is found throughout the works of the Italian
makers, which is not to be met with in anything approaching the same
degree in the similar productions of other nations. Among the
Italians, each artist appears to have at first implicitly obeyed the
teaching 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 the sound-hole of each several maker!
The work of master and pupil differs here in about the same degree as
the handwriting of father and son, and often more. Although Stradivari
was a pupil of Niccolo Amati, yet how marked is the difference between
the scrolls and sound-holes of these two makers; Carlo Bergonzi worked
with Stradivari, yet the productions of these two are 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.
In closing my remarks upon the Italian School of Violin-making, I
cannot withhold from the reader the concluding sentences of the
Cremonese biographer, Vincenzo Lancetti, as contained in his
manuscript relative to the makers of Cremona. He says: "I cannot help
but deeply deplore the loss to my native city (where for two centuries
the manufacture of stringed instruments formed an active and
profitable trade) of the masterpieces of its renowned Violin-makers,
together with the drawings, moulds, and patterns, the value of which
would be inestimable to those practising the art. Is it not possible
to find a citizen to do honour to himself and his city by securing the
collection of instruments, models, and forms brought together by Count
Cozio di Salabue, before the treasure be lost to Italy? I have the
authority of Count Cozio to grant to such a patron every facility for
the purchase and transfer of the collection, conditionally that the
object be to resuscitate the art of Violin-making in Cremona, which
desire alone prompted the Count in forming the collection." These
interesting remarks were written in the year 1823, with a view to
their publication at the end of the account of Italian Violin-makers
which Lancetti purposed publishing. As the work did not see the light,
the appeal of the first writer on the subject of Italian Violins was
never heard. Had it been, in all probability Cremona would at this
moment have been in possession of the most remarkable collection of
instruments and models ever brought together, and be maintaining in at
least some measure the prestige belonging to its past in
Violin-making.
SECTION V
The Italian Varnish
A word or two 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, promising himself the discovery of
its constituent parts. The more its lustre penetrates his soul, the
more determined become his efforts. As yet, 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 Maestro 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 depot 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 Gasparo da Salo and that of his coadjutors, the colouring
only being different. Upon turning to the Cremonese, we find that
Guarneri, Stradivari, Carlo Bergonzi, and a few others, used varnish
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 obliterated. 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
disappearance may, perhaps, be accounted for without overstepping the
bounds of possibility, if we suppose that the varnish was composed of
a particular gum quite common in those days, extensively 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 commercial 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
independent appearance of each separate instrument. With regard,
however, to the general question as to what the exact composition of
the gum was or was not, I shall hazard no further speculation, and am
profoundly conscious of the fact that my 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 colour 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 exceedingly transparent. The Neapolitan varnish (a generic
term including that of Milan and a few other places) is very clear,
and chiefly yellow in colour, but wanting the dainty softness 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, however, makes it so sharp that often
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 the beauty
of its appearance, 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 misconception has arisen from pushing this theory about the
varnish either too far or not far enough. What seems sometimes to be
implied by enthusiasts is, that the form of the instrument is of
little importance provided the varnish is good, which amounts to
saying that a common Violin may be made good by means of varnishing
it. The absurdity of such a doctrine is self-evident. On the other
hand, there are rival authorities who attach no importance 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
consideration 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 instruments cannot supply it. From these
remarks the reader may 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 following list of makers
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.
Several names given are evidently German, most of which belong to an
early period, and are chiefly those in connection with the manufacture
of Lutes and Viols in Italy. These are included in the Italian list,
in order to show that many Germans were engaged in making stringed
instruments in Italy, about the period when Tenor and Contralto Viols
with four strings were manufactured there--a circumstance worthy of
note in connection with the history of Viol and Violin making in
Italy, bearing in mind that four-string Viols were used in Germany
when Italy used those having six strings.
SECTION VI
Italian Makers
ABATI, Giambattista, Modena, about 1775 to 1793.
ACEVO, Saluzzo. Reference is made in the "Biographie Universelle des
Musiciens" to this maker having been a pupil of Gioffredo Cappa, and
M. Fetis mentions his having seen a Viol da Gamba dated 1693 of this
make, which belonged to Marin Marais, the famous performer on the
Viol.[1]
[Footnote 1: There seems good reason to question the existence of such
a person, at all events as a maker of Violins.--EDITORS.]
ALBANESI, Sebastiano, Cremona, 1720-1744. The pattern is bold and the
model flat. Although made at Cremona, they do not properly belong to
the school of that place, having the characteristics of Milanese work.
The varnish is quite unlike that of Cremona.
ALBANI, Paolo, Palermo, 1650-80. Is said to have been a pupil of
Niccolo Amati. The pattern is broad and the work carefully executed.
ALESSANDRO, named "Il Veneziano," 16th century.
ALETZIE, Paolo, Munich, 1720-36. He made chiefly Tenors and
Violoncellos, some of which are well-finished instruments. The varnish
is inferior, both as regards quality and colour. The characteristics
of this maker are German, and might be classed with that school.
ALVANI, Cremona. Is said to have made instruments in imitation of
those of Giuseppe Guarneri.
AMATI, Andrea, Cremona. The date of birth is unknown. It is supposed
to have occurred about 1520. M. Fetis gave this date from evidence
furnished by the list of instruments found in the possession of the
banker Carlo Carli, which belonged to Count Cozio di Salabue. Mention
is made of a Rebec, attributed to Andrea Amati, dated 1546. Upon
reference to the MSS. of Lancetti, I find the following account of the
Rebec: "In the collection of the said Count there exists also a Violin
believed to be by Andrea Amati, with the label bearing the date 1546,
which must have been strung with only three strings, and which at that
epoch was called Rebec by the French. The father of Mantegazza altered
the instrument into one of four strings, by changing the neck and
scroll." From these remarks we gather that the authorship of this
interesting Violin is doubtful. There is, however, some show of
evidence to connect Andrea Amati with Rebecs and Geigen, in the
notable fact that most of his Violins are small, their size being that
known as three-quarter, which was, I am inclined to believe, about the
size of the instruments which the four-stringed Violin succeeded. As
to the time when Andrea Amati worked, I am of opinion that it was a
little later than has hitherto been stated. We have evidence of his
being alive in the year 1611, from an entry recently discovered in the
register of the parish in which Andrea Amati lived, to the effect that
his second wife died on April 10, 1611, and that Andrea was then
living. The discovery of this entry (together with many important and
interesting ones to which I shall have occasion to refer) we owe to
the patience and industry of Monsignor Gaetano Bazzi, Canon of the
Cathedral of Cremona.[2] Andrea Amati claims attention not so much on
account of his instruments, as from his being regarded as the founder
of the school of Cremona. 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 Gasparo da 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 often, like their
brothers in Art, the painters of olden times, began to live when they
were dead, and their history thus passed without record. Andrea 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 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 Gasparo da Salo, although belonging to his style, and is
usually broad. 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 manner, the wood used being both
sycamore and that known to makers as pear-tree. The instruments of
Andrea 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 Andrea
Amati. On the backs were painted the arms of France and other devices,
with the motto, _Pietate et Justitia_. In the "Archives Curieuses de
l'Histoire de France," one Nicolas Delinet, a member of the French
King's band, appears to have purchased in 1572 a Cremona Violin for
his Majesty, for which he paid about ten pounds--a large sum, it must
be confessed, when we think of its purchasing power in the sixteenth
century. Mr. Sandys, who cites this curious entry, rightly conjectures
it may have included incidental expenses. No mention is made of the
maker of the Violin in question; we find, however, that in the
collection of instruments which belonged to Sir William Curtis there
was a Violoncello having the arms of France painted on the back,
together with the motto above noticed. The date of the instrument was
1572. We may therefore assume that the Violin purchased by Nicolas
Delinet in the same year was the work of Andrea Amati, and belonged to
the famous Charles IX. set.
[Footnote 2: The extracts were published by Signor Piccolellis at
Florence in 1886.]
AMATI, Niccolo, Cremona, brother of Andrea. Very little is known of
this maker or of his instruments.
AMATI, Antonio and Girolamo, sons of Andrea Amati, Cremona.
Antonius et Hieronymus Fr. Amati
Cremonen Andrae fil. F.
There does not exist certain evidence as to the date of the birth and
death of Antonio Amati. We have information of the dates on which his
brother Girolamo died in extracts from parish registers; also the date
of his marriages, which took place in the year 1576, and on May 24,
1584. By his second wife, Girolamo had a family of nine children; the
fifth child was Niccolo, who became the famous Violin-maker. The
mother of Niccolo died of the plague on October 27, 1630, and her
husband, Girolamo, died of the same disease six days later, viz.,
November 2, 1630, and was buried on the same day. Girolamo is
described in the register as "Misser Hieronimo Amati detto il leutaro
della vic di S. Faustino" (viz., maker to the Church). Vincenzo
Lancetti states that "Count Cozio kept a register of all the
instruments seen by him, from which it appeared that the earliest
reliable date of the brothers Amati is 1577, and that they worked
together until 1628; that Antonio survived Jerome and made instruments
until after the year 1648--a fine Violin bearing the last-named date
having been recently seen with the name of Antonio alone." This
information serves in some measure to set at rest much of the
uncertainty relative to the period when these makers lived. These
skilful makers produced some of the most charming 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 belonging to the work of their father
Andrea; 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 distinct, and one was immeasurably superior to the other. Antonio
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 traceable; here he wisely adopted a flatter form. His work
throughout, as regards finish, is excellent.
Girolamo 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 Niccolo
Amati improved, and, after him, the inimitable Stradivari perfected.
Girolamo 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 of 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!
Niccolo Amati certainly improved even upon Girolamo'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 Niccolo than that of his father Girolamo.
The purfling 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 the 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 the instruments of Andrea, and this increase of sound is
obtained without any sacrifice of the richness of the quality.
[Illustration: _Plate V_. CARLO BERGONZI. _Grand Pattern_. (GEO.
GUDGEON, ESQ.)]
AMATI, Niccolo, Cremona, born December 3, 1596, died April 12, 1684.
Nicolaus Amatus Cremonen, Hieronymi
Fil. ac Antonij Nepos Fecit. 16--
Son of Girolamo Amati. It is gratifying in the notice of this famous
Violin-maker to be able to supply dates of his birth, marriage, and
death. Niccolo was christened on December 6, 1596. His marriage took
place on May 23, 1645, and it is interesting to record that his pupil
Andrea Guarneri witnessed the ceremony, and signed the register. The
information recently supplied by Canon Bazzi of Cremona, relative to
the pupils and workmen of Niccolo Amati, who were duly registered in
the books of the parish of SS. Faustino and Giovita, is fraught with
interest. It seems to carry us within the precincts, if not into the
workshop, of the master. Andrea Guarneri heads the list in the year
1653, age twenty-seven, and married; next comes Leopoldo Todesca, age
twenty-eight; and Francesco Mola, age twelve. In the following year
Leopoldo Todesca appears to have been the only name registered as
working with Amati. In the year 1666 we have the name Giorgio Fraiser,
age eighteen. In 1668 no names of workmen seem to have been
registered. In 1680 the name of Girolamo Segher appears, age
thirty-four, and Bartolommeo Cristofori, age thirteen. In 1681 another
name occurs, namely Giuseppe Stanza, a Venetian, age eighteen. In the
following year the only name entered was that of Girolamo Segher, age
thirty-six. Niccolo Amati was the greatest maker in his illustrious
family, and the finest of his instruments are second only to those of
his great pupil, Antonio Stradivari. 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 Girolamo. He continued for some time to
follow the traditional pattern of the instruments, with the label 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 assiduously during these early years, with the view of making
himself thoroughly acquainted with every portion of his art. We find
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 1645 downwards. Prior to this period, 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 debatable 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 it pleases the eye. From the acoustical
point of view, it may be conceded that it does not tend to increase of
power; but, on the other hand, probably, the sweetness of tone so
common to the instruments of Niccolo 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 those of
the preceding Amati, together with increased boldness; in fact, it is
a repetition of that of Girolamo, with this exception. The sides are a
shade deeper than those 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 tenor of the body, which is
certainly of broad conception. 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 character of the body of the instrument. It must be
acknowledged, however, that these efforts did not carry him far
enough. The surface of the scroll is usually inclined to flatness. The
wood used by Niccolo Amati for his grand instruments is of splendid
quality, both as regards acoustical requirements and beauty of
appearance. The grain of some of his backs has a wave-like form of
much beauty, others have markings of great regularity, giving to the
instrument a highly finished appearance. 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 singular force. The colour of the varnish varies in point of
depth; sometimes it is of a rich amber colour, at others
reddish-brown, and in a few instances light golden-red.
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 persevering labour.
Here, again, is evidence of the master mind, never resting, ever
seeking to improve--evidence, too, that mere elaboration of work was
not the sole aim 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" Stradivari
exerted all the power of his early years; and the fruits of his
labours are, in point of finish, unsurpassed by any of his later
works. Where Niccolo Amati failed, Stradivari 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 conception, how delicate the workmanship,
what a marvel of perfection the sound-hole! But as these Violins are
noticed under the head of "Stradivari," it is unnecessary to enter
into details here. Beside Stradivari, many makers of less importance
followed the "grand Amati" pattern, among whom may be mentioned
Jacobs, of Amsterdam, who takes a prominent 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 originals 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 invariably 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.
Numerous 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.
Lancetti, writing of Niccolo Amati in 1823, says: "Some masterpieces
by him still remain in Italy, among which is the Violin dated 1668, in
the collection of Count Cozio. It is in perfect preservation, and for
workmanship, quality, and power of tone far surpasses the instruments
of his predecessors." The same writer remarks that "Niccolo Amati put
his own name to his instruments about 1640." It was upon a Violoncello
of this make that Signor Piatti played when he first appeared at the
concert of the Philharmonic Society, on June 24, 1844. The instrument
had been presented to him by Liszt, and is now in the possession of
the Rev. Canon Hudson. In an entry in the Cathedral Register at
Cremona, the name of the wife of Niccolo Amati is given as Lucrezia
Paliari. The meagreness of accounts of a documentary character in
relation to the famous makers of Cremona naturally renders every
contribution of the kind of some value. The following extract, taken
from the State documents in connection with the Court of Modena,
serves to indicate the degree of esteem in which the instruments of
Niccolo Amati were held during his lifetime, in comparison with those
of his contemporary and pupil, Francesco Ruggieri. Tomaso Antonio
Vitali, the famous Violinist, who was the director of the Duke of
Modena's Orchestra, addressed his patron to this effect: "Please your
most Serene Highness, Tomaso Antonio Vitali, your highness's most
humble servant, bought of Francesco Capilupi, through the agency of
the Rev. Ignazio Paltrineri, for the price of twelve doublons, a
Violin, and paid such price on account of its having the name inside
of Niccolo Amati, a maker of great repute in his profession. The
petitioner has since found that this Violin has been wrongly named, as
underneath the label is the signature of Francesco Ruggieri detto il
Pero, a maker of less credit, whose Violins do not scarcely attain the
price of three doublons."[3] Vitali closes his letter with an appeal
to the Duke for assistance to obtain redress.
[Footnote 3: "Luigi F. Valdrighi Nomocheliurgografia," Modena, 1884.]
AMATI, Girolamo, Cremona, born 1649, third son of Niccolo. The labels
which I have seen in a Violin and a Tenor bear the name "Hieronymus
Amati," and describe the maker as the son of Niccolo. He was born on
February 26, 1649, married in 1678. In 1736 he, together with his
family, removed to another parish, as shown by the original extract
from the books of the Cathedral at Cremona, sent by Canon Manfredini
to Lancetti. Girolamo Amati died in the year 1740. There appears to
have been some doubt as to whether Girolamo Amati, the son of Niccolo,
made Violins, according to Lancetti. He says, "Those seen with his
label, dated between 1703 and 1723, were ascribed by some to Sneider,
of Pavia, and by others to J. B. Rogeri, of Brescia." In a letter of
Count Cozio di Salabue to Lancetti, dated January 3, 1823, he states
that "in May, 1806, Signor Carlo Cozzoni gave an old Amati Violin for
repair to the Brothers Mantegazza, dealers and restorers of musical
instruments, in Milan, and upon their removing the belly they were
pleased to discover, written at the base of the neck, 'Revisto e
coretto da me Girolamo figlio di Niccolo Amati, Cremona, 1710.'"
In some instances the instruments of this maker do not resemble those
of Niccolo Amati, or indeed those of the Amati family. The sound-holes
are straight, and the space between them is somewhat narrow. In others
there is merit of a high order--the pattern is large, broad between
the sound-holes, and very flat in model, and resembling the form of
Stradivari rather than that of Amati. These differences are accounted
for by the fact made known by Lancetti, that the tools and patterns of
Niccolo Amati passed into the possession of Stradivari, and are
therefore included with those now in the keeping of Count Cozio's
descendant, the Marquis Dalla Valle. The varnish of Girolamo Amati
shows signs of decadence; in some instances, however, we find it soft
and transparent. The few which have this quality of varnish I am
inclined to think were made in the time of Niccolo, since the
instruments of a later date have a coating of varnish of an inferior
kind. This maker--as with the Bergonzis--seems, therefore, to have
been either ignorant of his parent's mode of making superior varnish,
or was unable to obtain the same kind or quality of ingredients. With
Girolamo closes the history of the family of the Amati as
Violin-makers. Girolamo had a son, Niccolo Giuseppe, born in 1684, who
removed with his father to another parish in 1736, as mentioned above,
but he was not a maker of Violins.
AMBROSI, Pietro, Rome and Brescia, about 1730.
Petrus Ambrosi fecit Brixiae, 17--
Average merit. The workmanship resembles that of Balestrieri, as seen
in the inferior instruments of that maker.
ANSELMO, Pietro, Cremona, 1701. The instruments of this maker partake
of the Ruggeri character. The varnish is rich in colour and of
considerable body. Scarce. I have met with two excellent Violoncellos
by this maker. Anselmo is said to have worked also in Venice.
ANTONIAZZI, Gaetano, Cremona, 1860. The work is passable, but the form
faulty. The sound-holes are not properly placed.
ANTONIO OF BOLOGNA (Antonius Bononiensis). There is a Viol da Gamba by
this maker at the Academy of Music, Bologna.
ANTONIO, Ciciliano, an Italian maker of Viols. A specimen exists at
the Academy of Bologna, without date.
ASSALONE, Gasparo, Rome, 18th century. The model is high and the
workmanship rough. Thin yellow varnish.
BAGONI, Luigi (or Bajoni), Milan, from about 1840. Was living in 1876.
BAGATELLA, Antonio, Padua, made both Violins and Violoncellos, a few
of which have points of merit. He wrote a pamphlet in 1782 on a method
of constructing Violins by means of a graduated perpendicular line
similar to Wettengel's; but no benefit has been derived from it.
BAGATELLA, Pietro, Padua, is mentioned as a maker who worked about
1760.
BALESTRIERI, Tommaso, middle of the 18th century.
Thomas Balestrieri Cremonensis
Fecit Mantuae. Anno 17--
Said to have been a pupil of Stradivari, which is probable. The
instruments of Balestrieri may be likened to those of Stradivari which
were made during the last few years of his life, 1730-37. 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
Tommaso 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 varnish seems to have
been of two kinds, one resembling that of Guadagnini, the other softer
and richer in colour. The tone may be described as large and very
telling, and when the instrument has had much use there is a richness
by no means common. It is singular that these instruments are more
valued in Italy than they are either in England or France.
BALESTRIERI, Pietro, Cremona, about 1725.
BASSIANO, Rome. Lute-maker. 1666.
BENEDETTI. _See_ Rinaldi.
BELLOSIO, Anselmo, Venice, 18th century. About 1788. Similar to Santo
Serafino in pattern, but the workmanship is inferior; neat purfling;
rather opaque varnish.
BENTE, Matteo, Brescia, latter part of the 16th century. M. Fetis
mentions, in his "Biographie Universelle des Musiciens," a Lute by
this maker, richly ornamented.
BERGONZI, Carlo, Cremona, 1716-47.
Anno 17-- Carlo Bergonzi, fece
in Cremona.
Pupil of Antonio Stradivari. That he was educated in Violin-making by
the greatest master of his art is evidenced beyond doubt. In his
instruments may be clearly traced the teachings of Stradivari. The
model, the thicknesses, and the scroll, together with the general
treatment, all agree in betokening that master's influence. Giuseppe
Guarneri del Gesu here stands in strong contrast with Bergonzi. All
writers on the subject of Violins assume that Guarneri was instructed
by Stradivari, 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
Giuseppe Guarneri. On the contrary, there is not a point throughout
his work that can be said to bear any resemblance to the sign manual
of Stradivari. As this interesting subject is considered at length in
the notice of Giuseppe Guarneri, it is unnecessary to make further
comment in this place.
The instruments of Carlo Bergonzi are justly celebrated both for
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 continuously
increased within recent years, 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.
They possess tone 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
generally flat, and the outline of his early efforts is of the
Stradivari 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
Stradivari model. 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 Stradivari
and Guarneri, 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 mere accident. It is further necessary to take
into consideration the kind of tone belonging to these instruments
respectively. If Bergonzi's instruments be compared with those of his
master, Stradivari, or of Guarneri del Gesu, the appreciable
difference to be found will amount to this, that in Bergonzi's
instruments there is a just and exact combination 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
Stradivari and Guarneri, 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 Antonio Stradivari, the
scroll is thoroughly distinct from any known production of that
maker--it lacks his 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 instruments are dubbed "Joseph
Guarneri," 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 whatever
to the work of Guarneri, and even in this case the resemblance is very
slight. Bergonzi's outline is totally different from that of Guarneri,
and is so distinct and telling that it is sure to impress the eye of
the experienced connoisseur when first seen.
The varnish of Bergonzi is often fully as resplendent as that of
Giuseppe Guarneri or Stradivari, and shows him to have been initiated
in the mysteries of its manufacture. It is sometimes 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 painstaking 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.
Carlo Bergonzi lived next door to Stradivari, and I believe the house
remained in the family until a few years since, when it was disposed
of.
Lancetti remarks: "From want of information, we have forgotten in the
second volume"--referring to his "Biographical Dictionary," part of
which was printed in 1820--"to include an estimable maker named Carlo
Bergonzi, who was pupil of Stradivari, and fellow-workman with his
sons. From the list of names and dates collected by Count Cozio, it
appears that Carlo Bergonzi worked by himself from 1719 to 1746. He
used generally very fine foreign wood, and a varnish the quality of
that of his master." In the collection of Count Cozio di Salabue,
there were two Violins by Bergonzi, dated 1731 and 1733, and a
Violoncello, 1746. We have in this country two remarkable Violoncellos
of this maker. The perfect and unique Double Bass which Vuillaume
purchased of the executors of Luigi Tarisio is now in the possession
of the family of the late Mr. J. M. Sears, of Boston, U.S.
BERGONZI, Michel Angelo, Cremona, 1730-60.
Michael Angelo Bergonzi Figlio di
Carlo fece in Cremona l'Anno 17--
Son of Carlo. The pattern of his instruments is somewhat varied. Many
are large, and others under-sized. The varnish is hard, and distinct
from that associated with Cremonese instruments.
[Illustration: _Plate VI_. J. B. GUADAGNINI. STORIONI. 1797.]
BERGONZI, Niccolo, Cremona.
Nicolaus Bergonzi Cremonensis
faciebat Anno 17--
Son of the above. 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 workmanship is very good, being often
highly finished, but yet wanting in character. The scroll is cramped,
and scarcely of the Cremonese type. Lancetti mentions a Tenor by this
maker, dated 1781.
In the correspondence which passed between the grandson of Antonio
Stradivari and the agents of Count Cozio (which is given in these
pages), reference is made to some of the moulds of the great maker
being in the keeping of ---- Bergonzi, they having been lent to him,
the writer saying that he would obtain them and put them with the
other patterns, which appears to have been done. These moulds were
doubtless lent to Michel Angelo Bergonzi, and were used by Niccolo as
well as his father, which accounts for the form of their instruments
being varied.
BERGONZI, Zosimo, Cremona. Brother of Niccolo.
BERGONZI, Carlo, Cremona, about 1780-1820. Son of Michel Angelo. He
made a few Violins, large Stradivarius form, sound-holes straight and
inelegant.
BERGONZI, Benedetto, Cremona, died in 1840. Tarisio learned little
points of interest concerning Stradivari and his contemporaries from
Benedetto Bergonzi.
BERTASSI, Ambrogio, Piadena (near Cremona), about 1730.
BERTOLOTTI, Gaspar di. _See_ Gaspar da Salo.
BIANCHI, Niccolo, Genoa and Nice. Worked until about 1875.
BIMBI, Bartolommeo, Siena, 1753-69. High-built, small pattern,
orange-yellow varnish.
BODIO, G. B., Venice, about 1832. Good workmanship; oil varnish, wide
purfling.
BORELLI, Andrea, Parma, about 1735. His instruments are little known;
they resemble those of Giuseppe Guadagnini.
BRENSIO, Girolamo (BRENSIUS, Hieronymus), Bologna. Reference has been
made to the Viols of this maker in the first section of this work.
BRESCIA, Da, Battista. A Pochette or Kit of this maker is at the
Academy of Music, Bologna, signed "Baptista Bressano"; the period
assigned to it is the end of the 15th century.
BROSCHI, Carlo, Parma.
Carlo Broschi in Parma, fecit 1732.
BUSSETO, Giovanni M., Cremona, 1540-80. Maker of Viols. M. Fetis
mentions, in his "Biographie des Musiciens," that Busseto derived his
name from _Busseto_, a borough in the Duchy of Parma, where he was
born. He also mentions a Viol of this maker, dated 1580, which was
found at Milan in 1792.
CALCAGNI, Bernardo, Genoa, about 1740.
Bernardus Calcanius fecit Genuae
anno 17--
Neat workmanship, small scroll, flat model, well-cut sound-holes,
Stradivari pattern, orange-red varnish.
CALVAROLA, Bartolommeo, Bergamo, about 1753. The work is neatly
executed. These instruments are somewhat like those of Ruggeri in
form. The scroll is weak, and ill-proportioned.
CAMILLI, Camillo, Mantua, 17--.
Camillus Camilli Fecit Mantua 17--
The form partakes of that of Stradivari; wood usually of excellent
quality. The sound-hole is rather wide and short. The varnish
resembles that of Landolfi, but is less brilliant.
CAPPA, Gioffredo, Cremona, 1644-1717.
IOFREDVS CAPPA FECIT
SALVTIIS ANNO 16--
The dates of birth and death were ascertained by Dr. Orazio Roggiero,
a lawyer of Saluzzo, whose researches set at rest many doubts and
speculations as to this excellent maker and his period of activity. He
was formerly held to be a pupil of the brothers Amati, but the
assumption, having regard to the date of birth, is untenable.
The greater number of his productions consist of works of high merit.
Their likeness to the instruments of the Amati is in some instances
peculiarly striking, but in others there is a marked dissimilarity.
Particularly is this 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: the sound-hole is larger, and more obliquely set
in the instrument; 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 concerning their parentage. Lancetti says: "Foreign
professors and amateurs, and particularly the English--though
connoisseurs of the good and the beautiful--in buying the instruments
of Cappa thought they had acquired those of Amati, the outline and
character of the varnish and the quality of the tone resembling in
some measure the instruments of the Brothers Amati. It is, however,
reserved to a few Italian connoisseurs to distinguish them. Those of
large pattern, and even of medium size, that have not been injured by
unskilful restorers, are scarce, and realise high prices." These
remarks, suggested many years since, by so able a connoisseur as Count
Cozio, possess a peculiar interest, and cannot fail to interest the
reader. As Lancetti remarks, they are of two patterns, 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
in many instances.
CARCASSI, Francesco, Florence, about 1758.
CARCASSI, Lorenzo, about 1738.
CARCASSI, Tomaso, worked in partnership with Lorenzo, but also alone,
according to labels. There were several makers of this name.
CASINI, Antonio, Modena.
Antonius Casini, fecit Mutine anno 1680.
CASTAGNERI, Andrea, Paris, about 1735.
Andrea Castagneri, nell Palazzo
di Saessone, Pariggi, 17--
This Italian maker appears to have settled in Paris. I have seen a
Violin by Castagneri, date 1735; flat model, bold outline, and varnish
of good quality.
CASTELLANI, Pietro, Florence, died about 1820.
CASTELLANI, Luigi, Florence, died 1884.
CASTRO, Venice, 1680-1720. The wood is of good figure generally. The
outline is defective; 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.
CATENAR, Enrico, Turin, about 1671.
Henricus Catenar, fecit Taurini anno 167--
CELIONIATI, Gian Francesco, Turin, about 1734.
Joannes Franciscus Celoniatus,
fecit Taurini, anno 17--
Appears to have copied the form of Amati. Yellow varnish, good
workmanship.
CERIN, Marco Antonio, Venice, end of the eighteenth century. Signed
himself as a pupil of Belosio.
Marcus Antonius Cerin, alumnus Anselmi Belosii,
fecit Venetiae, 17--
CERUTI, Giovanni Battista, Cremona, 1755-1817.
Jo. Baptista Ceruti Cremonensis
fecit Cremonae an 18--
Ceruti made a large number of Violins and Violoncellos of the Pattern
of Amati. He appears to have been a prolific workman, his instruments
numbering, it is said, about five hundred. His favourite model was the
large Amati. Giovanni Ceruti succeeded to the business of Lorenzo
Storioni in 1790, in the Via dei Coltellai, near the Piazza St.
Domenico.
CERUTI, Giuseppe, son of Giovanni, Cremona, 1787-1860. Was a maker and
restorer of instruments. He is said to have exhibited, at the Paris
and other exhibitions, Violins of good quality. He died at Mantua, in
1860.
CERUTI, Enrico, son of Giuseppe, Cremona, born in 1808, died on
October 30, 1883. Enrico Ceruti is the last of the long line of
Cremonese Violin-makers; there is, in consequence, a peculiar interest
attached to him. Independent of this, however, he is deserving of
special notice from his having been the recipient of the traditional
history attending the makers of Cremona, from Amati to Stradivari and
Bergonzi, and from Bergonzi to Storioni and Ceruti. He was acquainted
with Luigi Tarisio and with Vuillaume, to whom he gave many
interesting particulars relative to the great makers of his native
city. The instruments of Enrico Ceruti are much valued by Italian
orchestral players. They are said to number about three hundred and
sixty-five, among which are several Violoncellos. He exhibited at the
London Exhibition of 1862, and at other exhibitions. The last Violin
he made was shown at the Milan Exhibition, 1881.
CRISTOFORI, Bartolommeo, Padua and Florence, 1667-1731. Apprenticed to
Niccolo Amati. Is best known as the inventor of the "hammer system,"
and, therefore, the father of the modern pianoforte. Bow instruments
of his make are rare, but authentic examples are in every way
excellent. A fine Double Bass, dated 1715, is in the museum of the
Musical Academy in Florence. Violoncellos and other instruments are
known, and it is to be regretted that so few specimens are to be met
with.
CIRCAPA, Tommaso, Naples, about 1730.
COCCO, Cristoforo, Venice, 1654. A Lute-maker. The Museum of the Paris
Conservatoire Nationale de Musique contains a specimen of this make,
which is described in M. Gustave Chouquet's catalogue of the
collection.
CONTRERAS, Joseph, Madrid, 1745-80. 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. He was born in
Granada, and was called the Spanish Stradivarius. He died about 1780,
and is said to have been seventy years of age.
CORDANO, Jacopo Filippo, Genoa, about 1774.
Jacobus Philipus Cordanus, fecit Genuae anno sal. 1774.
CORNA, Dalla, Brescia, early maker of Viols, about 1530.
COSTA, Pietro Antonio dalla, Venice and Treviso.
Petrus Antonius a Costa, fecit
ad similitudinem illorum quos
fecerunt Antonius & Hieronymus
Fratres Amati Cremonenses Filii
Andrae. Tarvisii, 1757.
The label he used is curious. He copied the Brothers Amati with much
skilfulness. The sound-holes are like those of the early instruments
of the Amati; the varnish is golden in colour and excellent in
quality; the scroll, as usual with all imitations, is a weak feature,
but does not lack originality.
DARDELLI, Pietro, Mantua, about 1500. Is described as a maker of Lutes
and Viols. M. Fetis relates, in his "Biographie des Musiciens," that
the painter Richard, of Lyons, possessed about the year 1807 a
beautiful Lute by this maker, which was made for the Duchess of
Mantua. The instrument is described as richly inlaid with ebony,
ivory, and silver, dated 1497, and having the name "Padre Dardelli."
On the belly the Mantuan arms are represented. M. Fetis was unable to
discover any tidings of this interesting instrument after the death of
Richard. Dardelli was a Franciscan monk at Mantua, and occupied
himself with making musical instruments and inlaying them. Work of any
kind executed under such circumstances is rarely found to be other
than artistic.
DESPINE, Alexander, Turin, nineteenth century. A very good maker;
worked with Pressenda, whose labels his instruments sometimes bear.
DIEFFOPRUCHAR, Magno, Venice, 1612. Lute-maker. An instrument of this
make is at the Academy of Music, Bologna. M. Engel remarks,[4] "There
can be no doubt that we have here the Italianised name of the German
Magnus Tieffenbrucker, who lived in Italy." There appears to be a
connection between these Venetian Lute-makers of this name and
Duiffoprugcar of the sixteenth century.
[Footnote 4: "Musical Myths and Facts," 1876.]
DOMINICELLI, Ferrara, said to have worked about 1700.
DUIFFOPRUGCAR, Gaspar, Bologna. This famous maker of Viols is said to
have settled in Bologna in the early part of the sixteenth century. He
appears to have obtained much renown as an inlayer of musical
instruments, and it is stated that Francis I., upon the occasion of
his visit to Italy in 1515, prevailed upon the Viol-maker to settle in
France. The name of Duiffoprugcar has been made familiar to us, not so
much on account of his merits as a Viol-maker, but almost wholly on
account of his having been represented as the first maker of the
Violin tuned in fifths, and the representation having been supported
by the production of three Violins signed and dated 1511, 1517, 1519.
I saw, about the year 1877, one of these, and was informed by the
owner that the others were almost identical. The instrument bore
distinct evidence of its being a modern French imitation, or rather an
ingenious creation evolved from a myth, which in all probability had
its origin in France. Duiffoprugcar was unquestionably an artist of a
high order, but his abilities appear to have been chiefly directed to
the art of wood-inlaying, rather than to the making of stringed
instruments. He made Viols da Gamba, and he may have made smaller
Viols, though I am not aware of any being in existence; but there is
no evidence whatever to show that he made Violins.
FARINATO, Paolo, Venice, 1695-1725.
FICKER, Johann Christian, Cremona, middle of the 18th century.
Although dating from Cremona, has nothing in common with Cremonese
work.
FICKER, Johann Gottlieb, Cremona, 1788.
FIORILLO, Giovanni, Ferrara, 1780. The style is a mixture of German
and Italian, the former preponderating. The sound-hole is an imitation
of that of Stainer. His Violoncellos are among his best instruments.
FIORINO, Fiorenzi, Bologna, about 1685.
FREI, Hans, Bologna, 1597. Lute and Viol-maker. There is an instrument
of this make at the Bologna Academy of Music. It is probable there was
a family connection between Hans Frey, of Nuremberg, and this maker.
GABRIELLI, Giovanni Battista, Florence, about the middle of the 18th
century.
Gio Battista Gabrielli, fece in
Firenze, 17--
Johanes Baptista de Gabriellis,
Florentinus fecit 1742.
The instruments of Gabrielli are now becoming better known and
appreciated. They bear evident marks of 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 wood is mostly very handsome, and the sides and backs
evenly marked. The varnish is wanting in mellowness, but is very
transparent; its colour is chiefly yellow. The Tenors and Violoncellos
are superior to the Violins. The scroll is neatly cut, but weak in
design. The letters G. B. G. were often branded on the instruments of
Gabrielli.
GABRIELLI. Other makers of this name (Antonio, Bartolommeo,
Cristoforo) appear to have dated from Florence.
GAFFINO, Giuseppe, Paris, about 1755. Pupil of Castagneri.
GAGLIANO, Alessandro, Naples, 1695-1730.
Alexandrus Gagliano Alumnus
Stradivari fecit Neapoli anno 1725.
A pupil of Antonio Stradivari. The Gagliano family played no
unimportant part in the art of Italian Violin-making. It commences
with Alessandro, who imitated his master as regards the form which he
gave to his instruments. Alessandro Gagliano, upon leaving the
workshop of Stradivari, 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 manufacture in and
around Naples, there being no record of another maker of importance in
that locality at the same period. To these makers we are indebted for
the Neapolitan School. Although in its productions we miss the
lustrous varnish and handsome wood of Cremona, Naples has furnished us
with many excellent instruments.
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 Stradivari. The scroll is diminutive, and
the turn much contracted and of a somewhat mean appearance. The
workmanship of the scroll 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 frequently reminds
us of those by Stradivari made between 1725 and 1730.[5]
[Footnote 5: Some of his Basses are of exceptionally fine
workmanship.]
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, Gennaro, Naples, 1720 to about 1758; finely finished.
Januarius Gagliano, filius Alexandri
fecit Neap, 1732--
Well-chosen wood, and excellent form. He sometimes wrote his name in
pencil on the inside of the belly.
GAGLIANO, Niccolo, Naples, son of Alessandro.
Nicolaus Gagliano filius Alexandri
fecit Neap 17--
His Violins and Violoncellos were made with care, and show that he
possessed some amount of originality. They are not after the pattern
of his father's instruments. They are narrower, and similar to those
earlier works of Stradivari which come between the true "Amatese" and
the long form. The varnish is of a deeper colour than that of
Alessandro, and its quality is not inferior. The scroll is, in some
cases, well formed, in others somewhat grotesque. The model is high.
They are sometimes seen ornamented round the purfling with ebony,
diamond and lozenge shape.
GAGLIANO, Giovanni Battista, about 1730.
GAGLIANO, Ferdinando, Naples, son of Niccolo.
Ferdinandus Gagliano filius Nicolai
fecit Neap 17--
His instruments are usually excellently made, and have a varnish of a
warmer tint than is met with on the instruments of the Gagliano
family.
GAGLIANO, Giuseppe, Naples, 1780. Son of Ferdinando.
GAGLIANO, Giovanni,
GAGLIANO, Antonio,
GAGLIANO, Raffaele, Naples. These makers bring the family down to a
very recent date as residents in Naples. The merit belonging to them
is of the slightest kind. Some of our English provincial makers have
shown themselves superior.
GALBUSERA, C. A., Milan, 1832-47. This maker appears to have attracted
attention in Italy. In a little volume entitled "L'Italie Economique,"
1847, he is mentioned as a maker who rivals Vuillaume. I am not
acquainted with his instruments. Mention is made of his having made
Violins without corners, and that he applied to the wood a preparation
for the purpose of extracting the resinous particles from it. The
adoption of such means of forcing on maturity makes it unlikely that
he made instruments worthy of notice.
GARANI, Michel Angelo, Bologna, 1681-1720. His Tenors in particular
are well-made instruments.
GARANI, Niccolo, Naples. Gagliano type of instrument, usually plain
wood.
GASPARO DA SALO (_see_ Salo).
GATINARI, Francesco, Turin, about 1700.
GENNARO, Giacomo. Worked at Cremona, in the shop of Niccolo Amati,
about 1641. His name is mentioned in the parish registers in Cremona
as being employed by Amati.
GERONI, Domenico, Ostiano (Province of Brescia), dated 1817.
GHIDINI, Carlo, Parma, about 1746.
GIBERTINI, Antonio, Parma, about 1830. Stradivari model, excellent
work, deep rose-coloured varnish. This maker was at times employed by
Paganini to repair or regulate his Violins.
GIORGI, Niccolo, Turin, about 1760.
GOBETTI, Francesco (sometimes called _Gobit_), Venice, 1690-1715.
Franciscus Gobetti fecit
Venetiis 1705.
This is one of the little-known makers, a fact which may be attributed
to the practice, common some years ago, of removing the original label
of an instrument and substituting another, bearing a name more likely
from its familiarity to command attention.
When we see such 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 Gobetti 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 Domenico Montagnana. The admirers of that finished
maker, Santo Serafino, may perhaps dispute the justice of this
observation; but, having carefully weighed the merits of both Serafino
and Gobetti, I have no hesitation in awarding to the latter the
foremost place. Gobetti's style is superior, being more Cremonese than
Venetian; and further, his model is preferable.
Gobetti has been considered to have been a pupil of Antonio
Stradivari, 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 Ruggeri, and sometimes of Amati. There is a slight
likeness about the sound-hole to the work of Francesco Ruggeri; but to
the skilled in such matters, no feature interchangeable with Amati can
be detected.
The workmanship is uniformly neat in execution; the scroll is the
least successful part, being weak in character as compared with the
body. The varnish is equal to any belonging to the Venetian school,
and its beauty is second only to that of Cremona; its colour is
generally a pale red, of considerable 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 Gobetti's
work is round, without great power; but the quality is singularly
sweet.
GOFRILLER, Matteo, Venice, about 1700-1735. The workmanship is often
good, and the wood of fine quality. The style is somewhat different
from that we are accustomed to associate with Italy. The tone and
character of the varnish are generally excellent.
GOFRILLER, Francesco, Venice. Brother of the above, with whom he
worked.
GRAGNANI, Antonio, Leghorn.
Antonius Gragnani, fecit
Liburni, anno 1780.
Usually branded his initials below the tail-pin. Varnish somewhat
hard; ordinary wood. The tone is often of good quality.
[Illustration: _Plate VII_. STRADIVARI. 1716. (LE MESSIE.) STRADIVARI.
1709. (LA PUCELLE.) STRADIVARI. 1686. STRDIVARI. 1710. GIUSEPPE
GUARNERI. 1735. GIUSEPPE GUARNERI. Violon du Diable. NICCOLO AMATI.]
GRANCINO, Paolo, Milan, 1665-92. Pupil of Niccolo Amati. The Grancino
family, as makers of Violins, commence with this maker, and occupy a
similar position, as followers of the Amati pattern, to that of the
Gagliani as imitators of Stradivari. Paolo Grancino was pupil of
Niccolo Amati. 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 Stradivari, Bergonzi, and Guarneri, as striking
out into entirely untrodden paths.
His Violoncellos are particularly fine instruments; his Tenors 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 qualities 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
maker to use it, and at the same rate, probably, as a less handsome
material would cost in cities farther removed. The scroll of Paolo
Grancino has a very decisive character; it is quite distinct from that
of the Amati. From the ear of the scroll the turn is rapidly made, and
has an elongated appearance.
GRANCINO, Giovanni, Milan, 1694-1720.
Giovan Grancino in Contrada
larga di Milano al segno
della Corona 16--
Son of Paolo. The workmanship is smooth, and the form good. The
material of his instruments is of a better nature than that used by
his father. The model is slightly flatter. The tone is powerful.
Varnish mostly yellow.
GRANCINO, Giovanni Battista, Milan, 1690. Son of Giovanni mentioned
above. Similar characteristics.
GRANCINO, Francesco. Son of Giovanni Battista. Here we have the same
falling off as in the case of the Gagliani, a family beginning with
artists, and ending with common workmen.
GRULLI, Pietro, Cremona. Contemporary.
GUADAGNINI, Lorenzo, Cremona, 1695 to about 1740.
Laurentius Guadagnini
Cremonae Alumnus Stradivari
fecit Anno Domini 17--
No matter to which of the Guadagnini the instrument may owe its
origin, if it bears the name, 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 work 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 Giovanni Battista. 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 Antonio Stradivari, a fact which, it must be
granted, lends to it a certain degree of importance.
The instruments of Lorenzo are exceedingly bold in design, and differ
in this respect from those of Giovanni Battista, which retain much of
the delicate form of Stradivari. Lorenzo frequently changed the form
of his sound-hole, giving it the pointed character of Giuseppe
Guarneri in some instances, and in others 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 Stradivari; it has considerable originality, and is more attractive
on that account than for its beauty. The varnish is not so brilliant
as that of Giovanni Battista, but possesses a mellowness foreign to
the other members of the family. The tone is powerful, tempered with a
rich quality.
Lorenzo Guadagnini was born at Piacenza, and upon leaving the workshop
of his master returned to his native town, where he remained until
about the year 1695, at which period he is said to have removed to
Milan. In the last mentioned city he continued to work until about the
year 1740.[6]
[Footnote 6: This and other information relative to the Guadagnini
family I have obtained from its descendants at Turin.]
GUADAGNINI, Giovanni Battista, Piacenza, 1711-86.
Joannes Baptista Guadagnini
Placentinus fecit Mediolani 17--
Joannes Baptista Guadagnini
Cremonensis fecit Taurini 1776.
Son of Lorenzo Guadagnini. He was born, according to Count Cozio di
Salabue, at Cremona, and Lancetti states that he worked with his
father in Milan. Later he worked at Piacenza, then at Parma, where he
became instrument-maker to the Duke. Upon the pensions to the artists
of the Duke's Court being discontinued in 1772, he went to Turin,
where he died.[7] Count Cozio di Salabue communicated to Lancetti the
following particulars relative to Giovanni Battista Guadagnini. He
says: "He imitated Stradivari, but avoided close imitation of all
detail, and prided himself on not being a mere copyist." He is said to
have excited the jealousy of other makers, which caused him to move so
frequently, but most likely he offended chiefly with his hasty temper.
Many of his instruments made in Turin between 1773 and 1776 have wood
of the handsomest kind. Count Cozio ordered from him several
instruments which he added to his collection, among them two Tenors
and two Violoncellos. The interest Count Cozio manifested with regard
to this maker is shown in his having obtained from the parish
registers the date of his birth and death. He states that he was born
in Cremona in 1711, and died in Turin, September 18, 1786. This
last-named date is in conformity with that of 1785, given to me by the
representatives of the family at Turin, as the last year in which he
made instruments. Lorenzo has been regarded as the only pupil of
Stradivari in the Guadagnini family; but if their respective works be
closely examined, it will be found that those of Giovanni Battista
more closely resemble the instruments of Stradivari than even those of
Lorenzo, which is suggestive of his having, in some way, been brought
early under the great master's influence.[8] It is singular that his
early labels contain no reference to Cremona, whilst on the late ones
there is mention of the famous town, which evidences the correctness
of the statement of Count Cozio relative to his birthplace. It is
quite evident that he considered the model of Stradivari 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.
[Footnote 7: The present representative of the family mentions
Piacenza as the place of birth.]
[Footnote 8: The labels in many of the later instruments dating from
Turin contain the words "alumnus Antoni Stradivari."]
Giovanni Battista was particularly happy in the selection of his wood,
it being generally of the handsomest kind. The backs of his
instruments are mostly 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 as a rough imitation of that of Stradivari, and to partake
generally of the character of the Stradivarian 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. In the
correspondence which passed between Count Cozio di Salabue and
Vincenzo Lancetti, in the year 1823, the Count says: "The instruments
of G. B. Guadagnini are highly esteemed by connoisseurs and
professional men in Holland and Germany."
GUADAGNINI, Gaetano, Turin. Son of Giovanni Battista. Was both a maker
and a repairer of Violins; it was, however, in the latter capacity
that his abilities were mainly exercised.
GUADAGNINI, Giuseppe. Second son of Giovanni Battista. Worked with his
father for some time at Turin. He ultimately went to Lombardy, and
settled in Pavia, where he made a great number of instruments. The
work and character belonging to these instruments are varied. The
model is that of Stradivari. In some instances the sound-holes partake
of the character of Giuseppe Guarneri. The varnish is inferior to that
of his predecessors, and the wood often hard and plain. Some of his
Violins bear the labels of his father, and were doubtless made when
they were living together.
GUADAGNINI, Carlo, Turin. Son of Gaetano Guadagnini. This maker is
chiefly known as a maker of Guitars. Carlo left three sons, Gaetano,
Giuseppe, and Felice. These are said to have been all makers of
Violins, though they appear to have accomplished but little in that
direction, with the exception of Felice.
GUADAGNINI, Felice (or Felix), about 1835, Turin. Son of Carlo.
Excellent work, varnish rather hard, well-cut scroll.
GUADAGNINI, Antonio. Son of Gaetano and grandson of Carlo, born 1831,
died 1881. Worked with much diligence, and produced a great number of
instruments. His sons Francesco and Giuseppe, the representatives of a
long line of Italian Violin-makers, learned at Turin the art so long
associated with the family name, with a view to their following in the
footsteps of their father Antonio.
GUARNERI, Andrea, Cremona, born about 1626, died 1698.
Andreas Guarnerius fecit Cremonae
sub titulo Sanctae Teresiae 16--
The name of "Guarnerius" is probably known to every possessor of a
Violin throughout the world. The familiar style is attached to scores
of copies and non-copies every week, and despatched to the four
quarters of the globe. Little did Andrea imagine that he was destined
to be the means of lifting his patronymic of Guarneri to such a giddy
height!
Andrea Guarneri, like Andrea Amati, was the pioneer of the family: but
for his influence we might never have had the extraordinary works of
his nephew, Giuseppe. How full of interest would the smallest events
of Andrea's workshop life prove if we could only ascertain them! We
know that in early years he was working in the shop of Niccolo 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 men were living in daily close
converse is sufficient to awaken interest of a lively nature in the
mind of a lover of Fiddles. Unhappily, however, no Boswell was at hand
to dot down events, of small value when passing, but of great
consequence to after-time. The want of that direct biographical
information which is handed down to us from recorded personal
knowledge leads to the opening of many a mouldy, worm-eaten, and
half-forgotten parish register, wherein we read, in language stiff and
statutory, accounts of departed parishioners having duly performed and
executed divers acts and deeds. These entries often shed much
unexpected light on subjects previously dark or obscured. The pages of
the Cremonese parish register, to which allusion has been made in the
notices of the members of the Amati family, have served this purpose
in some measure. From the same source we have a few interesting facts
concerning Andrea Guarneri. It appears that Niccolo Amati entered, in
the year 1641, the age of his pupil Andrea Guarneri in the parish
rate-book as being fifteen years, thus supplying the hitherto unknown
date of his birth. Again we learn that Andrea Guarneri does not appear
to have been with Niccolo Amati in 1646, but was so in the year 1653,
the register showing that he was at that date married. There is no
further reference to his connection with Niccolo Amati after the year
1653. Andrea was married, December 31, 1652, and had seven children.
Two of his sons, namely Pietro Giovanni and Giuseppe Giovan Battista,
became Violin-makers. Andrea died on December 7, 1698, and we learn
from the register that he was buried on the following day near the
remains of his wife, in the Church of St. Domenico, in the same chapel
where the body of Antonio Stradivari was laid forty years later.
Andrea Guarneri for some years worked upon the model of his master,
though he afterwards changed the character of the sound-hole.[9] At
the same time the form of the instrument became flatter, and the
scroll showed signs of originality. The varnish is much varied, but is
generally of a light orange colour of beautiful hue; it sometimes has
considerable body, but when so, lacks the transparency of
light-coloured varnishes. The Violoncellos are of two sizes. The wood
in the Violoncellos is often very plain, but possesses singular
tone-producing qualities. The Violins of this maker are among his
finest efforts; the workmanship is excellent, but has not the fine
finish of Amati.
[Footnote 9: Lancetti, in his MS., mentions 1670 as about the period
of his change of style.]
GUARNERI, Giuseppe Giovan Battista, second son of Andrea, born
November 25, 1666.
Joseph Guarnerius filius Andreae fecit
Cremonae sub titulo S. Teresiae 16--
This maker possessed a greater amount of originality than Andrea. His
earliest works evidence that power of thinking for himself which,
later, led him to construct instruments entirely distinct from those
produced by his father. The outline is particularly striking. The
waist of the instrument is narrowed, rapidly widening, however, from
the centre. The result is a curve of much elegance, one of the points
which Giuseppe Guarneri del Gesu appears to have admired, as he
adopted and perfected it. It is here, more particularly, that a
resemblance between this maker and his famous kinsman is to be traced.
There are also other features which will furnish matter for comment in
their proper place. To return to the form given to the instruments of
Guarneri, the son of Andrea: the sound-hole has a singular combination
of the Amati and the Guarneri in its conception. We have here a
reappearance of the pointed form which originated with the grand old
Brescian master, Gasparo da Salo, and which 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 an easy task in completing and
perfecting it.
The method of this maker with regard to the setting of the sound-holes
in his instruments is peculiar. In his plan they are 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 is seen in most instruments. How interesting is it
to observe the salient points wherein each maker seems to have adopted
some isolated feature from a predecessor!
The varnish is of the richest description, and in some instances has
been so plentifully used as to cause it to clot in some places;
nevertheless, its rare qualities are never deadened.
He made Violins, Tenors, and Violoncellos, the latter being very
scarce. The wood used in his Violins and Tenors varies, but may be
pronounced as generally handsome; that of his Violoncellos is, on the
contrary, chiefly plain, and the workmanship somewhat careless, but
the tone is always fine in quality. Guarneri, Joseph, son of Andrea,
according to the parish register, was married on January 4, 1690, and
had six children.
GUARNERI, Pietro Giovanni, Cremona and Mantua, son of Andrea, born
February 18, 1655.
Petrus Guarnerius Cremonensis fecit
Mantuae sub-tit. Sanctae Teresiae 16--
In this maker, again, there is much originality, his work, together
with his model, differing 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 rounded 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 is
characteristic of the works of Niccolo Amati. The purfling is embedded
after the manner of 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. Pietro Guarneri used some of the
finest wood. The bellies are invariably wide in grain and very even.
The parish register supplies the information that Pietro was married
in the year 1677. He appears to have left Cremona for Mantua soon
after the year 1698. He visited Cremona about the period when his
father died; in which year he appears to have acted as god-father at
the christening of his brother Joseph's son Bartolommeo. Pietro
returned to Mantua, and later went to Venice, where he is said to have
died at an advanced age.
GUARNERI, Pietro, Mantua, born 1695. Son of Giuseppe filius Andrea. He
followed to some extent the form of the instruments of his uncle
Pietro, from whom, while in Mantua, he probably learnt his art. The
work is very good, and his productions are well worthy of the
Guarnerian name. The varnish is rich, but not so transparent nor so
well laid on as to come up to the full standard. The scroll is rather
weak.
GUARNERI, Giuseppe, Cremona.
Joseph Guarnerius fecit
Cremone Anno 17-- IHS
Better known as Giuseppe del Gesu, his labels having the cypher IHS
upon them. It is not known why he adopted this monogram, which is that
of the Jesuits. It is possible that he belonged to a fraternity 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 1687, and
died in or about 1745. The house of Giuseppe Guarneri is said to have
been No. 5, Piazza S. Domenico, now called Piazza Roma.
An extract from the register proves that Giuseppe Antonio Guarneri,
legitimate son of Giovanni Battista Guarneri and Angela Maria
Locadelli, was born at Cremona on June 8, 1683, and was baptized on
the 11th of the same month, in the parish of San Donato, at the
chapel-of-ease of the cathedral.
This extract which was supposed to refer to the subject of this notice
relates to a child who died in infancy, and it is now satisfactorily
settled that Joseph del Gesu first saw the light on October 16, 1687.
The date of death is merely conjectural, and unsupported by definite
evidence.
The father of Guarneri del Gesu, namely Gio. Battista, was the son of
Bernardo, a cousin of Andrea Guarneri. He 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 Giuseppe
Guarneri del Gesu was a pupil of Antonio Stradivari, 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 Guarneri. 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 Giuseppe Guarneri received his early instructions from Stradivari,
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 Guarneri bearing any likeness
whatever to the work of Stradivari. Among the instruments of the
second epoch may be found a few that show some gleam of the desired
similarity in respect of high finish; but it would be to the earliest
efforts of Guarneri 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 Guarneri was a
pupil of Stradivari. 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 Guarneri del Gesu
formed the single exception to the likeness between the work of master
and pupil, is scarcely sufficient to satisfy the inquiry.
There are three essential points of difference between Guarneri and
Stradivari. 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 Guarneri is long, and a modified
form of that of Gasparo da Salo. The third is the scroll, in which
Guarneri is as distinct from Stradivari as it is possible to be.
It may be asked, then, if not from Stradivari, from whom did Guarneri
receive instruction?[10] 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
work and style bear some degree of similarity to those of Giuseppe del
Gesu. If we carefully review the works of the Cremonese makers, it
will be found that Giuseppe Guarneri, son of Andrea, and a relative of
Guarneri del Gesu, is the only maker in whose productions we can find
the strong similarity needed. Analogy, therefore, would point to him
as the instructor of his kinsman. Giuseppe Guarneri, son of Andrea,
was del Gesu's senior by many years, and it is far more reasonable to
conclude that it was in his workshop that del Gesu was first
instructed, than that he was the pupil of a maker whose work he never
copied, and whose style has nothing in common with his own. 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
for ever.
[Footnote 10: The _evidence_--if indeed it is to be characterised as
such--upon which it has been recently asserted that del Gesu was a
pupil of Andreas Gisalberti is so trivial and altogether unconvincing
that it seems unsuitable for discussion or analysis in a serious work
of reference.--EDITORS.]
[Illustration: _Plate VIII_. GIUSEPPE GUARNERI. Date 1742. (LATE H. B.
HEATH, ESQ.) ANTONIO STRADIVARI. Date 1711. (LATE R. D. HAWLEY, ESQ.)
ANTONIO STRADIVARI. Date 1703. (J. S. COOKE, ESQ.)]
We will now inquire into the character of Guarneri del Gesu's model.
In forming this, he seems to have turned to Gasparo da Salo as the
maker whose lead he wished to follow; and if each point be critically
considered, an impression is left that, after well weighing the merits
and demerits of Gasparo's model, he resolved to commence where Gasparo
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 Guarneri del Gesu retained its pointed form. Next
comes the outline of the body, where, again, there is much affinity to
the type of Gasparo da 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 Gasparo, Guarneri proved
himself an artist possessed of no little discernment. His chief desire
was evidently to make instruments capable of producing a quality of
tone hitherto unknown, and that he succeeded is universally
acknowledged. Workmanship, as evidenced by the instruments of his
first and last epoch, was with him a purely secondary 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 instruments that he has left and the great variety of their
construction are 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 a maker as
Guarneri 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 instruments are extremely flat, without any
perceptible rise; at another, the form is raised in a marked manner
and the purfling sunk into a groove; a parallel of this type of
instrument is to be found in the works of Pietro Guarneri and
Montagnana. At one time his sound-holes were cut nearly
perpendicularly (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 some, again, are
occasionally seen immoderately long. These hastily-marshalled
instances are quite sufficient to show the extent of his experiments,
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 farther into the peculiar features belonging to the instruments
of Guarneri, we will classify his work. M. Fetis, doubtless under the
guidance of M. Vuillaume, has divided the career of Guarneri into
three periods--an excellent 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-holes 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 of the finest specimens of the art of Violin-making.
In these culminate 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 casing of deep amber, that
unrivalled varnish, may be likened to the effect produced by the
setting summer sun on cloud and 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."
The effect of this beautiful coruscation upon the backs of Violins is
obtained by cutting the wood upon the cross, or, as the French term
it, _sur maille_. It is 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 Guarneri. 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 Guarneri: 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 thoroughbred English mastiff, if
carved, might give some idea of the appearance sought to be described.
Mr. Reade says of these instruments with much truth, "Such is the
force of genius, that I believe in our secret hearts we love these
impudent 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 _chefs-d'oeuvre_ are strangely mixed with
those commonly known as the "_prison Fiddles_"--a sorry title. The
name arose from the story current in Italy that Guarneri made some
Fiddles whilst undergoing imprisonment, and that the gaoler's daughter
procured him the necessary materials, which were of the coarsest kind.
M. Fetis refers to the story, and mentions that Benedetto Bergonzi,
who died in 1840, used to relate it. Allusion is also made to it by
Vincenzo Lancetti, to whom it was doubtless communicated by Count
Cozio di Salabue. These references lead to the belief that the
tradition has some foundation in fact, though not to the extent that
he ended his days _in durance vile_. Lancetti refers to the offence as
an encounter with some person in which his antagonist lost his
life.[11] A deplorable circumstance of this kind may have occurred
without the accused having been criminally at fault, though he may
have suffered the penalty of being so. His reported love of wine and
pleasure, his idleness and irregularity, in all probability were
statements added by successive narrators of the prison story. A recent
search made by Canon Bazzi in the obituary registers of the cathedral
at Cremona, discovers the fact that one Giacomo Guarneri died in
prison on October 8, 1715. Bearing in mind how frequently we find fact
and fiction jumbled together in historical pursuits, the prison story
in connection with the name of Giuseppe Guarneri may have no other
foundation than a story, long current, that a person named Guarneri
was imprisoned, and wholly regardless of identity.
[Footnote 11: Alexander Gagliano is the subject of a similar story.]
I have referred to the three periods of this remarkable man's life in
relation to his art, and it remains 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 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, affords
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 work of Guarneri for a long period. The sycamore that he
used was varied both in appearance 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 Guarneri with respect to their graduation,
it is found that he varied very much as to the quantity of wood left
in the several instruments. Notwithstanding these differences,
however, it will be found, upon closer comparison of the thickness,
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 wood of a
softer 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 exacting the admission that, after
every deduction on account of want of finish, there remains a style
defying all imitation. Who can fail to recognise 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 the
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.
The sound-hole, also, of Guarneri always preserves its distinctive
character, and a grotesque humour which at once 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
heel of the neck rests, which forms a prominent mark in all Violins,
and an evidence of style, has a remarkably pronounced development in
the Violins of Guarneri, 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 artistically,
ruined for want of skill in handling that simple factor of the Violin.
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 Guarneri imitators, distinct from those of Stradivari and
others. They may be divided into three orders, viz., the _bona 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 advantage of the disturbed styles
belonging to Guarneri, coupled with his misfortunes, manufactures and
translates at will. He "spots" a back on an old fiddle, in which he
sees Guarneri 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_ to carve, giving it a hideous, burglar-like appearance. The
inevitable label is inserted, and the Violin leaves the translator's
hand 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 by with contempt. The _half_-informed turn it over and
over, puzzled, and replace it in its case disconsolate. The thoroughly
ignorant looks inside; "Joseph Guarnerius Cremonensis 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 Guarnerius." He returns it to its case, shuts the lid,
and exultingly sallies forth, congratulating himself again upon his
good fortune in having at last the opportunity of securing the real
thing at the price of "a mere song." 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 frequenter of sale-rooms, 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 pound bid is capped by another from our friend,
who fondly fancies himself behind the scenes. The subtle copyist,
seeing his eagerness, bids on his bid, and the "Joseph Guarnerius del
Gesu" falls with the hammer to the anxious buyer for ten pounds. He
demands possession of it at 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 assumes the required brownness, or steeped in strong acids until it
becomes more like a piece of charred wood than anything else; the
sharp edges are removed by the file; the wear of years is effected in
a few moments by rubbing down those parts subject to friction; it is
ticketed and dated, regardless alike of orthography and chronology,
the date being generally before or after the original's existence.
These imitations are so barefaced as to render them comparatively
harmless.
GUIDANTI, Giovanni, Bologna, about 1740. High model; sound-hole long;
purfling badly let in; the outer form inelegant, particularly the
middle bouts. At the Exhibition at Milan, 1881, a Viola d'Amore was
exhibited, signed "Joannes Guidantus, fecit Bononiae, anno 1715,"
ornamented with a beautiful head artistically carved, representing a
blindfolded Cupid.
GUILLAMI, Spanish family of Violin-makers, about 1680-1780.
HARTON, Michael, Padua, 1600. Lute-maker.
KERLINO, Joan, 1449. Maker of Viols. Numerous instruments of the
Violin shape have been attributed to this maker, particularly those of
quaint appearance, but it is doubtful whether he made any instruments
but those of the Viol type.
LAGETTO, Luigi, Paris, about 1753.
LANDOLFI, Carlo Ferdinando, Milan, 1750.
Carolus Ferdinandus Landulphus,
fecit Mediolani in Via S. Margaritae
anno 17--
Though he belonged to the latest of the Italian makers, his merits
were of no ordinary kind. His 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 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 Guarneri, as often stated, but thoroughly
original. His sound-hole cannot be considered an effective one, and is
not in keeping with the work. The outer edge is generally grooved. The
scroll is weak. His Violoncellos are mostly of small size. Some of
this maker's instruments are very unfinished, many not being purfled,
and having only a single coat of varnish.
LANZA, Antonio Maria, 1674. Copied the Brescian makers.
LAVAZZA, Santino, Milan, about 1700.
Santino Lavazza fece in Milano in Contrada larga 17--
LAVAZZA, Antonio, Milan.
Lavazza Antonio Maria fece in Milano in Contrada larga 17--
LINAROLLI, Venturo, Venice, 1520. A maker of Viols.
LOLY, Jacopo, Naples, 17th century. Of the Grancino type. Scroll
diminutive. Yellow varnish. Material very hard. Flat model. He made a
few large tenors.
MAGGINI, Giovanni Paolo, Brescia, 1590.
Gio Paolo Maggini in Brescia.
This famous maker followed Gasparo da Salo, and was his pupil. It is
surmised that he may have died of the plague in or about the year
1632. No Italian maker is more frequently mistaken than Maggini. Any
instrument having ornamentations on the back in the shape of purfled
scroll-work is at once said to be by Paolo 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
confusion of Gasparo da 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 his
instruments. In them we miss the harmony of outline belonging to those
of Gasparo, particularly as relates to his Double Basses. Gasparo's
Violins are less harmonious in design, and evince his unsettled views
as to the form they should take; a perfectly natural circumstance when
the infantile state of the Violin in his day is considered. The
outline of Maggini is broad, but lacks the classic symmetry of the
rare old Brescian maker. The form is flat, and the means which he
adopted in order to obtain a full and telling tone were very complete.
The sides are frequently shallow, and in accordance with the outline.
With others who followed him, he evidently recognised the necessity of
reducing the height of the sides in proportion to the dimensions of
the instrument. The sound-hole is long and pointed, and admirably set
in the instrument. The scroll is primitive, but boldly cut, and
clearly marks an onward step from the somewhat crude production of
Gasparo, the back of which is not grooved, or but 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 consequence, their value was much increased.[12]
[Footnote 12: The genuine labels are undated, as in the case of his
master, Gasparo da Salo.]
MALER, Laux, Bologna, about 1450. Maker of Lutes. Maler appears to
have been regarded by Lutinists as the Stradivari of Lutes. Thomas
Mace informs us in his "Musick's Monument," 1676, they were sold for
as much as one hundred pounds each, though often "pittiful, old,
batter'd, crack'd things." He tells us he has "often seen Lutes of
three or four pounds price far more illustrious and taking to a common
eye." History repeats itself at every turn. The uneducated eye of
to-day is equally apt to regard a Mirecourt or Bavarian copy with as
much favour as a genuine Cremona. Mace proceeds to instruct the
"common eye." "First, know that an old Lute is better than a new one."
Thus also with Viols: "We chiefly value old instruments before new;
for by experience they are found to be far the best." "The pores of
the wood have a more and free liberty to move, stir, or secretly
vibrate, by which means the air--which is the life of all things, both
animate and inanimate--has a more free and easie recourse to pass and
repass." This explanation accounts, in part at least, for the
superiority of old over new instruments, and in language delightfully
quaint and simple.
MANTEGAZZA, Pietro Giovanni, Milan.
Pietro Giov Fratelli Mantegazza nella
Contrada di Santa Margarita in
Milano al Segno dell' Angelo 17--
Petrus Joes. Fratresq Mantegatia
Mediolani in Via S. Margarite
anno 1760.
Petrus Joannes Mantegatia, fecit
Mediolani in Via S. Margaritae 1784.
Vincenzo Lancetti states that "about 1800 the Brothers Mantegazza were
restorers of instruments, and were often entrusted by French and
Italian artistes to lengthen the necks of their Violins after the
Paris fashion, an example which was followed by amateurs and
professors all over North Italy." This extract shows that the short
necks were dispensed with in Paris towards the close of the last
century, and doubtless Viotti was the chief instigator with regard to
the change. The family of Mantegazza, as Violin-makers, date back to
about the middle of the eighteenth century. They appear to have made
many Tenors. The workmanship is good, and also the modelling of the
later-dated instruments. The older ones are rather high, but the
varnish is brilliant. The wood is somewhat hard. Count Cozio was a
patron of the Brothers Mantegazza, and he appears to have increased
his knowledge of Italian Violins from information acquired from them.
MARATTI, Verona, about 1700.
MARCHETTI, Enrico, Turin, contemporary.
MARIANI, Antonio, Pesaro, from about 1580 to 1619. Long middle bouts
and corners; style and work very primitive, mostly double purfled.
MEIBERI, Francesco, Leghorn, 1750.
MESSEGUER, Spanish, about 1646.
MEZADRI, Alessandro, Ferrara, 1690-1722. The pattern is inelegant, and
the sound-holes too close.
MEZADRI, Francesco, Milan, about 1712.
MIALFI, Joannes, 1769. The label is in Spanish. Ordinary character of
work.
[Illustration: _Plate IX_. GIUSEPPE GUARNERI DEL GESU. 1737. (LATE H.
O. HAVEMEYER, ESQ.)]
MONTAGNANA, Domenico, Cremona and Venice, 1700-1740.
Dominicus Montagnana Sub Signo
Cremonae Venetiis 17--
Pupil of Antonio Stradivari. After leaving the workshop of his famous
master, he followed his art in Cremona. He afterwards removed to
Venice, where Violin manufacture was in the most flourishing
condition, and adopted the name of "Cremona" as the sign of his house.
In days when houses were unnumbered, tradesmen were found by their
sign, and they were often puzzled to select one both distinctive and
effective. The Violin-makers of Italy, having exhausted the calendar
of its Saints emblematic of Harmony, left it to the Venetian to honour
the name of himself and the city which was the seat of the greatest
Violin manufacture the world had witnessed. In Venice he soon attained
great popularity, and made the splendid specimens of his art with
which we are 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 Venetian," an appellation not a whit too high-sounding, though
it may appear so to those not acquainted with his finest works. The
truth is, that Montagnana 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
"Pietro Guarneri," although there is barely 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 connoisseur. 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 both Montagnana and Bergonzi 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 Guarneri
and Stradivari were placed far beyond reach.
In these times, when the love of music is rapidly developing 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 demands 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 sought
after as it is, unlike any other musical instrument, 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 who thus indulge their taste; but, on the other
hand, we have reason to be grateful to the lovers 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 Stradivari, 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 Stradivari and
that of Domenico 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 Stradivari is
evidenced. A similar assertion may, in a lesser degree, be made in the
case of Carlo Bergonzi. 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 Stradivarian type; the upper and
lower curves are flattened, while those of the centre are extended.
The sound-hole partakes more of the character of Guarneri; the scroll
is larger, and the turns bolder than in the Stradivari 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
Cremonese 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
Antonio Stradivari, Carlo Bergonzi and Montagnana doubtless intended
to bring out in a stronger degree certain particular qualities of
tone: at the same time we may be sure that they had no idea of
attempting to improve upon Stradivari 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 admiration of
connoisseurs throughout Europe. The extreme richness and velvet-like
softness which are its characteristics constitute it a fitting
countersign of the workmanship of this great maker, an artist of the
first magnitude. He made Violins, Tenors, and Violoncellos. His
Violins are of two sizes.
MONTALDI, Gregorio, Cremona, 1730. Copied Stradivari.
MORELLA, ----, Mantua, about 1550. M. Fetis, in his "Biographie
Universelle des Musiciens," states that he was famous for his Viols
and Lutes. S. Ang. Maffei, in his "Annali di Mantova" (fol. 147),
highly praises the instruments made by Morella.
NADOTTI, Giuseppe, Piacenza. A Violin by this maker was in 1881
exhibited at the Milan Exhibition, dated 1767.
NELLA, Raffaele, Brescia, copied Maggini.
ORTEGA, ----, Madrid, about 1840. Maker and restorer of instruments.
PANDOLFI, Antonio, Venice. A Violin of this make, dated 1719, was
among the instruments exhibited at the Milan Exhibition in 1881.
PANORMO, Vincenzo, Palermo, born about 1740, died 1813. This maker was
one of the most successful followers of Antonio Stradivari. Panormo
and Lupot share the palm as copyists of the great Cremonese master.
Neither appears to have attempted to create a model of his own; their
sole aim was to imitate to the utmost the various patterns of
Stradivari, Guarneri, and Amati, but they principally confined
themselves to Stradivari.
Vincenzo Panormo left Italy in early life, and settled for a 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 enough to meet. He was of a restless temperament, which
showed itself in continual self-imposed 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 trifling 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 patronage 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 suppressed. He worked and toiled for his
art and for bare sustenance 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, ofttimes 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 manufactured under such conditions can scarcely, it may be
supposed, add to their maker's 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.
PANSANI, Antonio, Rome, 1735.
PASTA, Antonio, Brescia, 1700-1730. Good work. Model a little high;
varnish of soft quality.
PASTA, Domenico, Brescia, about 1700.
PAZZINI, Gaetano, Florence, about 1630, pupil of Maggini.
PICINO, Padua, 1712. High model; dark varnish.
PLATNER, Michel, Rome, about 1750. The instruments of this maker
resemble those of Tecchler, both in workmanship and varnish.
Michael Platner fecit Romae anno 17--
POLLUSCA, Antonio, Rome, about 1751.
POSTIGLIONE, Vincenzo, Naples, contemporary.
PRESSENDA, Giovanni Francesco, Turin.
Joannes Franciscus Pressenda
q. Raphael fecit Taurini
Anno Domini 1826.
Born in the year 1777. The Violins bearing the label of Pressenda are
excellently made, and in many instances the varnish is superior to
that met with on any Violins dated from Italy in the present century.
Pressenda appears to have interested himself to some extent in the
matter of varnish. In a little book published in Italy[13] there is
the following passage: "A pale reflection of the old art
(Violin-making) is found in Piedmont, with Guadagnini." The writer
continues with the following reference to Pressenda of Turin, who, he
remarks, was in his youth at Cremona, "where he collected the
traditions of the school as regards modelling and the preparation of
the varnish, which is the chief merit of his Violins." It is almost
needless to remark that traditional information is frequently
unsatisfactory, but particularly so in connection with Cremonese
Violin-making and varnishing, near the middle of the last century. In
short, the great makers left no other record of the steps they took
both in manufacture and in the preparation of their varnish than can
be discovered in their works. The instruments of Pressenda present a
singular contrast with others of Italian make belonging to this
century, most of which evidence what may be termed the throes of a
dying manufacture. With Pressenda we appear to have a new departure,
in which there is some show of attention having been paid to the work
accomplished in the best workshops of Paris. The then condition of
Violin-making in Italy made it necessary for any Italian maker--no
matter how great his ability--to seek information elsewhere, if
desirous of excelling in his art. Pressenda appears to have sought to
emulate and even surpass many Parisian makers by associating his name
for the most part with good and unsophisticated work. The results of
his labours reflect no little credit on his skill and judgment.
Pressenda may be styled a born maker of Violins. From an account
published by Signor Rinaldi, of Turin, in 1873, we learn that
Pressenda was the son of poor parents, who lived in Lequio-Berria, a
hamlet in the vicinity of Alba, in Piedmont. His father Raffaele was a
strolling fiddler, and gained his precarious livelihood by playing at
village fairs and other rejoicings. On these occasions he was
accompanied by his son Giovanni, who followed the occupation of his
father, playing the Violin with some degree of skill. It was at this
period that he appears to have manifested a desire to know something
of Violin manufacture, and frequently asked for information from his
parent, who, however, was rarely able to satisfy his curiosity.
Learning that Cremona was in some way associated with good Violins, he
resolved to fiddle his way to that city. There he found Storioni, from
whom he obtained some rudimentary knowledge of the manufacture he was
so much interested in. Later he removed to Piedmont, and established
himself in Alba in 1814, as a maker of Violins. The patronage he
gained was, however, insufficient to maintain him, and he combined the
business of cabinet-making with his favourite pursuit. After removing
to Carmagnola, he went in the year 1820 to Turin, where his abilities
were recognised and rewarded. He was encouraged in his manufacture by
Giovanni Battista Polledro, the famous Violinist, who, in 1824, became
Musical Director of the Royal Orchestra at Turin. Pressenda died in
the year 1854 at Turin. His Violins are chiefly of the model of
Stradivari. The sound-holes are well cut. The thicknesses of his best
instruments are well arranged, and the wood appears to have been
selected with good judgment. The scrolls, whilst having much
character, are somewhat roughly cut. The Violins belonging to his
early period are chiefly of the Amatese character.
[Footnote 13: "L'Italie economique," 1847.]
RACCERIS,----, Mantua, about 1670.
RINALDI, Gioffredo, Turin. (Benedetti, Gioffredo.) Chiefly known as a
dealer in Violins. He exhibited a few Violins by Giovanni F. Pressenda
at the Vienna Exhibition, 1873, and published a short notice of that
maker, which he inscribed to the Archduke Rannieri.
RIVOLTA, Giacomo, Milan, about 1822. Excellent work; scroll well cut.
One of the best Italian makers of the nineteenth century.
ROCCA, Joseph Antonio, Piedmont, 1837-1863. Chiefly followed the
pattern of Stradivarius. Neat workmanship, varnish rather thin,
well-cut scroll. He worked for some time with Pressenda.
RODIANI, Giovita, sometimes called Budiani; Brescia, about 1580-1620.
His instruments resemble those of Maggini. Dragonetti is said to have
had a Double Bass of this make.
ROTA, Giovanni, Cremona. Yellow varnish, plain wood, heavy work, rough
purfling.
Joannes Rota fecit Cremonese Anno 1808.
ROVETTA, Bergamo, 1840-70.
ROGERI, Giovanni Battista, Cremona and Brescia.
Io: Bapt. Rogerius Bon: Nicolai
Amati de Cremona Alumnus
Brixiae fecit Anno Domini 1705.
The word Bon after his name refers to his having been a citizen of
Bologna. Vincenzo Lancetti speaks of its being certain that he called
himself _Bononiensis_. The instruments of this maker are of a
different pattern from those of Francesco Ruggeri. They are higher
modelled, the sound-holes less elegant, and the scroll heavier. They
possess, however, high merits, and command prices nearly equivalent to
those of the instruments of Francesco. The labels of this maker are
sometimes met with printed in red ink. The instruments he made of
large Amati pattern are highly valued. He appears to have worked from
about the close of the seventeenth century. Count Cozio di Salabue and
Lancetti speak of G. B. Rogeri having worked down to 1723, and
possibly later, and state that he lived for many years in Brescia.
There are some instruments bearing original Amati labels of this make,
made, doubtless, when he was in the shop of Amati.
ROGERI, Pietro Giacomo, Brescia, describes himself on his label as a
pupil of Niccolo Amati. Lancetti refers to a Violoncello by Pietro
Rogeri as having belonged to Count Cozio, and remarks that he was a
"nearly unknown member of the Rogeri family." The date of the
instrument is given as 1714. He cannot now be looked upon as almost
unknown, since Signor Piatti played for many years upon a famous
Violoncello of his make. The pattern is a little narrower than that of
G. B. Rogeri. Varnish of beautiful quality; sound-hole resembles that
of Francesco Ruggeri.
RUGGERI, Francesco, Cremona, 1668-1720.
Francesco Ruggeri detto
il Per Cremona 16--
Surnamed "Il Per." The family of Ruggeri long occupied a foremost
place in the city of Cremona as makers of Violins, Tenors, and
Violoncellos. Their position must have been but little inferior to
that of the Amati family. Francesco, 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 impulses 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 himself. His sound-hole is a
beautiful piece of workmanship, and may be said to come between that
of Niccolo Amati and Stradivari, 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 surpassed. This maker also knew 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
consequence, the brilliancy of its appearance is perfect. Lancetti
remarks, "Francesco Ruggeri was a pupil of Niccolo Amati, and perhaps
a more exact imitator of his instruments than G. B. Rogeri, and made
several instruments, beautifully finished, and which are not easily
distinguished from those of his master." Count Cozio possessed a fine
Violin by Francesco, dated 1684, and the Marquis Castiglioni also
possessed one made in the same year. Francesco Ruggeri died at the
house No. 7, Contrada Coltellai, Cremona.
RUGGERI, Giacinto detto Il Per, Cremona. Son of Francesco Ruggeri. A
Violoncello bearing this label is in the possession of Mr. G. Foster
Cooke:
Giacinto filio di
Francesco Ruggeri detto il Per
1696.
RUGGERI, Vincenzo, Cremona, also uses the name "Il Per." Worked from
about 1700 to 1730. He appears to have made many Violoncellos.
Vincenzo Ruger detto il Per
in Cremona 17--
RUGGERI, Giambattista, Cremona. About 1693. Also called himself Il
Per. Lancetti suggests that this maker was a relative of Francesco. He
made several Violoncellos of large size and deep sides, the wood of
which is often plain. The varnish is of good quality and dark brown
colour. He also made Violins and Tenors, the latter being excellent
instruments.
SACCHINI, Sebastiano.
Sebastino Sacchni da Pesaro l'anno 1686.
SALO, Gasparo da.
Gasparo da Salo Brescia.
His real name was Gasparo dei Bertolotti. The researches of Cavalliere
Livi, keeper of the Brescian Archives, have brought to light much
valuable information as to this famous maker. He was born in the town
of Salo (Province of Brescia) in or about the year 1542, died there on
the 14th of April, 1609, and was buried in the church of San Joseffo.
A son (Francesco) appears to have worked with him and to have died in
1614. Several Viols of Gasparo's workmanship, of different sizes, are
still extant. The Violins are very rare. A few large Violas exist, the
tone of which is magnificent. His genuine labels bear no date. Gio
Paolo Maggini was apprenticed to him, and is believed to have
purchased the business, after Gasparo's death, from his son Francesco.
To Gasparo da Salo belongs the credit of having laid the foundation of
the Italian style of Violin-making. In his works may be traced the
gradual development of the system 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 Paolo Maggini, departed from the path so
successfully trodden by this great pioneer. But for this deviation,
the works of the early Amati 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 Gasparo da Salo. Their works show an
evident preference for the high model, and thus undid much that
Gasparo had accomplished. It is clear that Gasparo 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 latter members of the Amati family pursued the
same course as Andrea Amati (though in a less degree), after which
they awoke, as it were, to the reasonableness of the example set by
Gasparo, and gave us those instruments so highly thought of by the
connoisseur, the form of which has much in common with that adopted by
Niccolo Amati and perfected by Antonio Stradivari.
It has been before remarked that Gasparo da 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 times his Violins and Violas were treated differently
from the Accordos and Violonos. The Violins are found to be high in
model, while the above-named instruments, 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 quartette in a different way is
certainly an error, for they are to be looked upon as gradations of
one and the same instrument; nevertheless, the attempt of Gasparo,
although mistaken, offers but another instance of his prolific
ingenuity and unwearied diligence. An 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.
[Illustration: _Plate X_. DOMENICO MONTAGNANA. (GEO. GUDGEON, ESQ.)]
The chief characteristics of the works of Gasparo da Salo are the
sound-holes, shortened centre-bouts, scroll, and peculiar choice of
material. The length of the sound-hole 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 Giuseppe Guarneri, nearly a century and a half later,
gave such perfection. The material used for the larger instruments is
mostly pear-wood, or wood of that description, the quality of which is
particularly fine. In the selection of this wood he showed a still
minuter discrimination, using it generally for Accordos and Violonos,
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. Signor 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 monastery of St.
Mark's, Venice, about the year 1776, and was returned to the Canons of
that Church (the monks and the monastery having been suppressed since
the French occupation of Venice in 1805 or 1809) after Dragonetti's
death, in 1846. Another was bequeathed by Dragonetti to the late Duke
of Leinster. A third is in the possession of the Rev. George Leigh
Blake. Among his chamber Double-Basses the one formerly belonging to
Mr. Bennett is regarded as a singularly perfect example. It was
numbered with the rarities of Luigi Tarisio's collection, and highly
valued by him as a specimen of the maker. Among his Violins, the
instrument formerly owned by Lord Amherst, of Hackney, is unique; the
infancy of the Violin at this period is better seen here than any
specimen with which I am acquainted. The Violin of this make which
belonged to Ole Bull, and with which I am familiar, is another
well-known example. This instrument is characteristic of its author.
Its varnish is soft-looking and rich, though paler than usual. The
finger-board is inlaid, and is made of a light description of wood.
The head is carved and painted, and is a very choice piece of Italian
work.
SANONI, Giovanni Battista, Verona. About 1740. His instruments are
seldom met with in England. High model.
SANTO, Giovanni, Naples, 1700-30. Copied Amati. Varnish very hard, and
workmanship indifferent.
SANZO, Milan. Middle and early eighteenth century. Similar to
Grancino.
SARDI, ----, Venice, 1649. A broken Violin bearing this name was at
the Milan Exhibition, 1881.
SEIGHER, Girolamo. Worked in the shop of Niccolo Amati from 1680 to
1682.
SELLAS, Matteo, Lute-maker. M. Chouquet, in his "Catalogue Raisonne"
of the instruments at the Paris Conservatoire, mentions two Arch-Lutes
made by this maker.
SERAFINO, Santo, Udine--Venice, 1710-48.
Sanctus Seraphin
utinensis Fecit
Venetijs Ann. 17--
This maker is chiefly famed for the exquisite finish of his
workmanship. The modelling of his instruments varied. There are
instances, particularly in the case of his Violins, where he has
entirely set aside the Stainer form, and copied Amati. These Violins
are wonderfully like the work of Francesco Ruggeri. The varnish upon
them, of a rich red colour, is of so exceptional a quality, that one
is compelled to look twice before being satisfied as to the author.
The greater number, however, of his instruments are of the German
character, the sound-hole, scroll, and outline all hinting of Stainer.
These Venetians were wonderfully fortunate in obtaining handsome wood,
and in this respect Santo Serafino 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. Santo
Serafino 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. Nearly all his instruments were branded with
his name above the tail-pin. He used an ornamental label of large
size. The Violoncello in the possession of Mr. M. J. Astle is a
charming specimen of Serafino's work, I may say unequalled.
SNEIDER, Josefo, Pavia. Lancetti remarks that many of the Violins by
Girolamo Amati, son of Niccolo, were attributed to this maker.
Joseph Sneider Papiae
Alumnus Nicolai Amati Cremonae
fecit Anno 17--
SOCCHI, Vincenzo, 1661, Bologna. In the Catalogue of M. Chouquet
mention is made of a Kit or Pochette by this maker in the Paris
Conservatoire.
SORSANA, Giuseppe, 1700-1750. Said to have been a pupil of Stradivari.
Highly finished work, varnish of beautiful quality.
Joseph Sorsana fecit
Cremone sub discip. Ant.
Stradivarii 1737.
STATLEE, Anderl, Genoa, about 1714. Signed himself as a pupil of
Hieronymus Amati (son of Niccolo). Not unlike the work of Urquhart.
STREGNER, Magno, Venice, Lute-maker.
STORIONI, Lorenzo, Cremona, about 1769 to 1799.
Laurentius Storioni Fecit
Cremonae 17--
The last of the old makers who evinced any marked degree of
originality. Although there is an almost total absence of refinement
in his works, there is much that is clever, which has gradually caused
these instruments to be valued very highly. He appears to have made
Giuseppe Guarneri del Gesu his idol. Although his instruments cannot
be considered as copies, yet there is evidence of his having made use
of the salient points belonging to Guarneri, which he fitted, as it
were, to his own model. He had much of the disregard of mere
appearance which Guarneri 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 appearance. 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. Vieuxtemps, 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 speedily 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 unusually narrow, and roughly
worked; the scroll is stiff, and the absence of finish is observable.
The material he used was generally good in point of acoustical
properties, though not handsome. Storioni does not appear to have made
many Tenors or Violoncellos--the latter are rarely met with.
Storioni died in 1799. He lived at the house No. 3, Contrada
Coltellai, which was afterwards occupied by G. B. Ceruti.
STRADIVARI, Antonio, Cremona.
"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 pine,
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.
Antonius Stradiuarius Cremonensis
Faciebat Anno 17--
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 name is ever rising to the lips in 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 subjects: to-day he is as little likely to be dethroned as
Shakespeare.
Although many interesting particulars concerning Antonio Stradivari
have been obtained from time to time, there is 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 17th and 18th centuries. The results of
these inquiries are of much value, and the reader will be made
acquainted with them in the following pages.
With a patience worthy of reward, the late librarian at Cremona,
Professor Peter Fecit, searched for the will of Stradivari, but as no
proper register appears to have been kept until long after the famous
maker died, his efforts were unsuccessful. Although the contents of
the will might throw but a faint light upon the doings of the
testator, there might be found particulars that would link together
much of the information we already possess.
The date of birth of Antonio Stradivari was made known to M. Fetis in
1856,[14] upon evidence contained in an inventory of instruments which
belonged to Count Cozio di Salabue. The inventory was made upon the
occasion of the instruments being deposited with Carlo Carli, a
Milanese banker. Among the Violins there appears to have been one by
Antonio Stradivari, bearing a label upon which, in the handwriting of
its maker, was stated his age, namely, ninety-two years, and the date
1736; thus making the year of birth 1644.
"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 perfectness,
Made perfect Violins, the needed paths
For inspiration and high mastery."
_Stradivari_, by GEORGE ELIOT.
[Footnote 14: "Antoine Stradivari, luthier celebre," par F. I. Fetis.
Paris, 1856.]
Previous to the publication of this evidence by M. Fetis, the date of
birth was given as 1664, and it has been stated as 1644 or 1650. Don
Paolo Lombardini, in his pamphlet on Stradivari published at Cremona
in 1872, gives an interesting genealogical account of the great
Cremonese maker and his family. The author follows the date of birth
as stated by M. Fetis. This is succeeded by information of his own
discovery, namely, the date of the marriage of Stradivari, July 4,
1667.
He appears to have married a widow named Capra, whose maiden name was
Ferraboschi, her age being twenty-seven, and that of Stradivari
twenty-three, according to the date given by Lombardini.
GENEALOGICAL TABLE OF THE FAMILY OF STRADIVARI,
EXTRACTED FROM THE PAMPHLET OF PAOLO LOMBARDINI.
STRADIVARI, ALESSANDRO = MORONI, ANNA
STRADIVARI, GIUSEPPE J., born March 20, 1623.
STRADIVARI, ANTONIO, born 1644;
died Dec. 18, 1737.
= Married, July 4, 1667
= FERRABOSCHI, FRANCESCA, born Oct. 7, 1640;
died May 25, 1698.
(1) GIULIO, born Dec. 23, 1667;
married, 1688;
died Aug. 7, 1707.
(2) FRANCESCO, born Feb. 6, 1670;
died Feb. 12, 1670.
(3) FRANCESCO, born Feb. 1, 1671;
died May 11, 1743.
(4) CATTERINA, born Feb. 18, 1674;
died Aug. 3, 1748.
(5) ALESSANDRO, born May 25, 1677;
died Jan. 26, 1732.
(6) OMOBONO, born Nov. 14, 1679;
died June 9, 1742.
= Married, second time, Aug. 24, 1699.
= ZAMBELLI, ANTONIA, born June 11, 1664
died March 3, 1737.
(7) FRANCESCA, born Sept. 19, 1700;
died Feb. 11, 1720.
(8) G. B. GIUSEPPE, born Nov. 6, 1701;
died June 7, 1702.
(9) G. B. MARTINO, born Nov. 11, 1703;
died Nov. 1, 1727.
(10) GIUSEPPE, born Oct. 27, 1704; (Priest)
died Nov. 29, 1781.
(11) PAOLO, born Jan. 26, 1708; (Cloth Merchant)
died Oct. 19, 1776.
= TEMPLARI, ELENA, born 1705;
died 1776.
ANTONIO II., born 1738;
| died 1789.
| = DALLA NOCE, MARGARITA, born 1739;
| died 1787.
| GIUSEPPE, born 1763.
| LUIGIA, born 1765.
| FRANCESCA, born 1767.
| GIACOMO, born 1769;
| | died 1828.
| | = Married, 1797.
| | = CORNIERI, GIUSEPPA, died Jan. 25, 1803.
| | CESARE, born 1798 (Physician).
| | | = Married, 1838.
| | | = MAINI, LAVINIA, born 1808;
| | | died 1862.
| | | LIBERO, born Jan. 29, 1840 (Barrister).
| | | = Married, 1867.
| | | = PODESTA, GIOVANNA, born 184-.
| | | CLELIA, born 1868.
| | | ANNITA, born 1871.
| | | ITALO, born 187-.
| | PIETRO, born 1800;
| | died 1869.
| | GIUSEPPE, born 1802.
| | = Married, 1836.
| | = CRISTINI, MARIA, born 1807.
| | FANNY.
| | EUFEMIA.
| | ENRICO.
| | = Married, second time, 1821.
| | = BONAZZI, ROSALINDA, born 1792.
| | GIACOMA 2nd, born 1822; (of Milan).
| | = Married, 1861.
| | = ROSSI, FANNY, born 1835.
| | ELENA.
| | SILVIA.
| | PIERINA.
| | FAUSTO.
| ANTONIA, born 1771;
| died 1816.
FRANCESCA, born 1739;
died 1809 (Nun).
CARLO, born Dec. 4, 1741;
died 1808.
FRANCESCO, born 1744;
died 1746.
PAOLO, born 1746;
died 1792.
It is interesting to find evidence of some importance relative to the
question of the age of Stradivari from the pen of Lancetti. He says,
"Antonio having worked to the age of ninety-three years, died in
Cremona in the year 1738, at the age of ninety-four years." Though
this is obviously incorrect (the register showing that he died in
1737), the extract serves to support the date of birth, resting upon
the evidence of the inventory, inasmuch as it satisfactorily shows the
age Stradivari was considered to be by his own family, since Count
Cozio communicated the information to Lancetti from correspondence
with Paolo Stradivari, son of Antonio. In passing, it may be observed
that Stradivari died December 18, 1737, and therefore the year
mentioned by his son Paolo was only incorrect by thirteen days. He was
equally as near the truth in saying his father was ninety-four when he
should have said he was in his ninety-fourth year.
Having referred to the manuscript inventory, upon which rests the date
of birth as given by Fetis--which document, taken by itself, it must
be said is unsatisfactory--and having noticed the age of Stradivari as
represented by his son, I will turn to other evidence in support of
the inventory. The late Mr. Muntz, of Birmingham, possessed a Violin
by Stradivari, dated 1736, and, in writing, the age of the maker is
given as ninety-two. Another Violin by Stradivari, made in the same
year, and similarly labelled, was bequeathed by the late Mrs. Lewis
Hill to the Royal Academy of Music. This Violin has been regarded as
one of the instruments found in the maker's shop when he died. It
originally belonged to Habeneck, the well-known professor, and was
taken to Paris between the years 1824 and 1830. Luigi Tarisio became
possessed of some of the instruments mentioned in the inventory found
among the papers of Carlo Carli, the banker, and one of these Violins
in all probability furnished the evidence of the date of birth
referred to by M. Fetis, and both instruments were probably purchased
by Tarisio, together with the Violin dated 1716, named by Vuillaume
"le Messie."[15] The last instrument necessary to notice in
confirmation of the date, hitherto resting alone on the inventory, was
in the possession of the late M. H. de St. Sennoch, of Paris. It is
dated 1737, and in the handwriting of Stradivari is his age,
ninety-three years, which decides the correctness of the statement
made by Lancetti (upon the authority of Count Cozio di Salabue, who
received the information from Paolo Stradivari in 1775) that "Antonio
worked up to the age of ninety-three years."
[Footnote 15: The information which M. Fetis gives of this Violin was
based on the inventory of Carlo Carli. It is also mentioned in the
correspondence between Count Cozio and Lancetti.]
In the absence of direct information concerning the life of
Stradivari, 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 any Violin of
Stradivari is known in which it is stated that he was a pupil of
Niccolo Amati, or that the assumption has been maintained on any other
grounds than the indisputable evidence furnished by the early
instruments of this great maker.[16] Never has affinity in the art of
Violin manufacture been more marked than that between Stradivari and
Niccolo Amati during the early life of the former. I have, in another
place, remarked upon the almost invariable similarity occurring
between the works of master and pupil, and have used this canon in
refutation of the doctrine that Giuseppe Guarneri del Gesu was ever a
pupil of Antonio Stradivari. Lancetti states that the instruments of
Stradivari made in 1665, and others in 1666, bear the label of Niccolo
Amati, and instances one that was in the collection of Count Cozio, to
which Stradivari made a new belly, many years later, in his best
style. It is certain that instruments as described by Lancetti have
been recognised by intelligent connoisseurs as wholly the work of
Stradivari (in which case, as may 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 instances the
beautiful scroll of Stradivari has been recognised on the body of an
Amati, or the sound-hole has shown that it was cut by the hand of
Stradivari.
[Footnote 16: Upon reference to Lancetti's MSS., I find that he states
Stradivari used a label with the words "Nicolai Amati Alumnus," about
1666.]
Having met with a Violin by Stradivari (since the publication of the
first edition of this work) dated 1666, it would appear that he left
the workshop of his master at that time, or not later than the year of
his marriage in 1667. The extracts obtained by Canon Bazzi from the
parish registers, relative to the pupils of Niccolo Amati, help to
establish the correctness of this view. Stradivari must have been in
the workshop of his master between the years 1658 and 1666. We have no
information of the pupils of Amati from 1654 to 1665. In 1666 the name
of Giorgio Fraiser is given; consequently Stradivari must have left
previous to 1666 or early in that year, and prior to the registration.
Between the years 1666 and 1672 there is observable a marked change in
style, and the workmanship is better. The instruments he made about
this period have wood for the most part singularly plain, and
different in kind from what his master used. His use of this material
I am disposed to attribute to the want of means rather than choice.
The purfling of these early instruments is very narrow, and many of
the backs are cut slab-form. Previous to about the year 1672, 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
instrument); the arching is identical, the corners are treated
similarly, 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 Stradivari 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
Stradivari, to admit of such marked resemblances. Taking the
instruments of Stradivari as beacons throwing light upon many curious
and interesting points of the maker's manufacture, the number and
character of his Violins and Violoncellos made during the decade
following 1674 is indicative of his having increased both his
reputation and his patronage. The last year of this period, namely
1684, was that in which his master, Niccolo Amati, died, at the age of
eighty-eight. We have already seen, in the notice of Amati, that
Niccolo was the last member of the family who maintained unbroken the
long chain of associations connected with the house of Amati,
extending over a period of a century and a half. The circumstance of
all the tools, patterns, and models of Niccolo Amati having passed
into the possession of his pupil Stradivari, and not into that of his
son Girolamo (who was then thirty-five years of age), clearly shows
that the son did not succeed to his father's business. We are thus led
to believe that during the ten years above referred to, Niccolo Amati
had been gradually lessening his activity, and that the patronage so
long enjoyed by the Amati family fell for the most part to his gifted
pupil, Antonio Stradivari. Among the interesting items of information
supplied by the efforts of Paolo Lombardini, relative to Stradivari,
is that of the purchase of the house, in 1680, of the Brothers
Picenardi for seven thousand imperial lire, equivalent to above 800
pounds in present English money. This purchase, made about fourteen
years after Stradivari began to manufacture on his own account, well
marks the progress he made. I have, however, further proof of his fame
and prosperity at this period in the valuable extracts from the
manuscript of Desiderio Arisi, at Cremona.
[Illustration: _Plate XI_. ANTONIO STRADIVARI. _Tenor_. Date 1690.
(Made for the Grand Duke of Florence.) ANTONIO STRADIVARI. 1734. (LATE
GEO. AMES, ESQ.)]
The knowledge Arisi had of Stradivari is shown by the following
remarks written by him in the year 1720. He says, "In Cremona is also
living my intimate friend Antonio Stradivari, an excellent maker of
all kinds of musical instruments.[17] It will not be out of place to
make special mention of his merits. His fame is unequalled as a maker
of instruments of the finest qualities, and he has made many of
extraordinary beauty, which are richly ornamented with small figures,
flowers, fruits, arabesques, and graceful interlaying of fanciful
ornaments, all in perfect drawing, which he sometimes paints in black
or inlays with ebony and ivory, all of which is executed with the
greatest skill, rendering them worthy of the exalted personages to
whom they are intended to be presented. I have thought proper,
therefore, to mention some works of this great master, in testimony of
the high esteem and universal admiration which he enjoys." These
prefatory remarks of Arisi are followed by several important
statements, which I have arranged in accordance with the different
periods it will be necessary to refer to in the course of this notice.
[Footnote 17: Mention is made by Lancetti that in the year 1820 the
Marquis Carlo dal Negro, of Genoa, possessed a Harp bearing the name
of Stradivari. Mandolines and other stringed instruments have been
seen with his name attached.]
"In the year 1682, on the 8th of September, the banker Michele Monzi,
of Venice, sent him an order for the whole set of Violins, Altos, and
Violoncellos which that gentleman sent as a present to King James of
England."[18] The interesting remarks of Arisi with regard to the
inlaid instruments of Stradivari are those we should expect from an
admirer of delicate artistic work, who possessed no special knowledge
of Violins as instruments of music. The existence of some of the
instruments to which he refers, together with the tracings of the
actual designs and the tools with which the work was accomplished,
render his observations, read at this distance of time, peculiarly
pleasing. The possessor of the models, tools, labels, and drawings
used by Stradivari is the Marquis Dalla Valle, of Casale, to whom they
passed by inheritance from his great-uncle, Count Cozio, who purchased
them in 1775.
[Footnote 18: These instruments were probably sent to England in 1685,
or later.]
[Illustration: THE HOUSE OF STRADIVARI, WEST SIDE, PIAZZA ROMA,
CREMONA.]
Vincenzo Lancetti, referring to the collection, after mention of
Stradivari having been buried in the Church of S. Domenico, continues,
"As appears from the correspondence held in 1775, by the said Count
Cozio with Antonio's son Paolo Stradivari, cloth merchant, when the
former bought of the latter all the remaining Violins, the forms, the
patterns, moulds, and drawings of the said celebrated Antonio, as well
as those of the Amati, with which he enriched his collection." In an
article published in the "Gazzetta Piedmontese," October, 1881, upon
the occasion of the exhibition, at Milan, of the relics of the shop of
Stradivari, the writer gives the following account of the
negotiations: "Count Cozio, a great patron, intimate with the greatest
artists of the period, especially with Rolla, purchased, through the
instrumentality of the firm of merchants, Anselmi di Briata, from
Paolo and Antonio junior, respectively son and nephew of Antonio
Stradivari, in 1776, all the tools, drawings, labels, &c., which had
been used by the celebrated Violin-maker, and his heirs, who were
desirous that nothing belonging to him should remain in his native
town, as it is inferred, from a curious document, hastened to conclude
the sale."[19] It is certain, however, that Lancetti received his
information from the Count himself, and negotiations were certainly
carried on between Paolo and the Count, either directly or through his
agents, Anselmi di Briata.
[Footnote 19: Upon reference to the copy of this document (the
correspondence is given in the fourth edition of this work), I find
the words used by Paolo Stradivari to his correspondents Anselmi di
Briata run, after commenting upon the price offered, "However, to show
my desire to please you, and in order that not a single thing
belonging to my father be left in Cremona, &c.," having reference,
possibly, to some supposed feeling of indifference on the part of the
municipal authorities towards the memory of Antonio Stradivari, they
not having secured the moulds, patterns, &c.]
The contents of the letters of Paolo and Antonio Stradivari junior,
which the Marquis Dalla Valle has placed at my disposal, serve to
explain the two different accounts above given. We find that the Count
had two distinct transactions, directly or indirectly, with the family
of Stradivari. In 1775 he purchased the ten instruments made by
Antonio which remained out of ninety-one (complete and partly
finished) left by the maker at the time of his death in 1737. The
payment in connection with this transaction was arranged by the banker
Carlo Carli, which gave rise to the inventory upon which M. Fetis
based his statement as to the age of Stradivari. In the month of May,
1776, negotiations were entered upon with Paolo Stradivari, relative
to the tools, which led to their being sold. During their progress
Paolo died, October, 1776, and the business was left for his son
Antonio to complete in December, 1776. The copies of the letters
written by Paolo and Antonio Stradivari are given in the fourth
edition of this work, and the chief part of the matter therein is
referred to in the Section, "The Violin and its Votaries."
The next period to be noticed relative to the work of Stradivari is
that dating from 1686 to 1694. We here observe a marked advance in
every particular. The form is 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, though
not prominently so. Here, too, we notice the change in the formation
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 foreshadows much of the character belonging to
the bodies of the instruments of his latter period, and 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 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. The purfling is a trifle wider, but narrower than that
afterwards used.
From the, Arisi MSS. we have the following interesting information
relative to this period:--
"In the year 1685, on the 12th of March, Cardinal Orsini, Archbishop
of Benevento,[20] ordered a Violoncello and two Violins, which were
sent as a present to the Duke of Natalona, in Spain. The Cardinal,
besides paying liberally for the work, wrote an appreciative
acknowledgment of their merits, and appointed the artist to the place
of one of his private attendants." It may be remarked that the honour
conferred upon Stradivari was equivalent to appointing him maker to
the Archbishop.
[Footnote 20: Vincenzo Maria Orsini (of the illustrious family of the
Orsinis, Dukes of Gravina), born 1648, in the Neapolitan province of
Bari, was a learned professor of theology, and visited, between 1668
and 1672, several cities and towns, among others Naples, Bologna,
Venice, Brescia, and most likely Cremona, where he held conferences,
which were largely attended. He was created a Cardinal by Clement X.,
in 1672, Archbishop in 1675 in Manfredonia, in 1680 to Cesena, in 1686
to Benevento and Porto. In 1724 he was elected Pope, under the name of
Benedict XIII., and remained on the Pontifical throne until February,
1730, when he died, aged eighty-one.]
"In the same year, on the 12th of September, Bartolomeo Grandi, called
Il Fassina, leader of the Court Orchestra of His Royal Highness the
Duke of Savoy,[21] ordered of Stradivari a whole set of instruments
for the Court Orchestra."
[Footnote 21: Victor Amadeus II., Duke of Savoy and King of Sardinia,
was the Prince for whom Bartolomeo Grandi ordered the concerto of
instruments.]
"In the year 1686, on the 5th of April, His Serene Highness the Duke
of Modena (Francesco II. D'Este was then twenty-six years of age)
ordered a Violoncello, which, by special invitation, Stradivari was
requested to take to the Duke himself, who told him how pleased he was
to make his personal acquaintance, praised greatly his work, and
beyond the sum agreed paid him thirty pistoles (golden Spanish) as a
present."
On the 22nd of August, 1686, Marquis Michele Rodeschini ordered a Viol
da Gamba to be sent to King James II. of England.
In the year 1687 he made the set of instruments for the Spanish Court,
inlaid with ivory, and having a beautiful scroll work running round
the sides and scroll. Arisi evidently refers to this event in the
following extract: "On the 19th of January, 1687, the Marquis Niccolo
Rota ordered a Violoncello for the King of Spain." One of the Violins
of this set was purchased in Madrid about thirty years since by Ole
Bull. The Tenor belonging to this quatuor has lost its ivory work, a
blemish which is to be regretted. He also made, about this period,
some very small Violins with similar designs, instruments evidently
made to order.
"On the 7th of August of the same year, 1687, the nobleman Don
Agostino Daria, General-in-Chief of the Spanish Cavalry in Lombardy,
while he was residing in Cremona, obtained from him a Violoncello."
We now reach the year 1690, in connection with which Arisi has
supplied information of singular interest. He says: "On the 19th of
September, 1690, Stradivari received the following letter from the
Marquis Bartolommeo Ariberti,[22] a Cremonese nobleman--'The other day
I made a present of the two Violins and the Violoncello which you made
for me to His Highness the Prince of Tuscany;[23] and I assure you, to
my great satisfaction, he has accepted them with such pleasure that
more I could not expect. The members of his orchestra--and he
possesses a select number--were unanimous in expressing their great
appreciation, declaring the instruments quite perfect, and, above all,
exclaiming with one voice that they had never heard a Violoncello with
such an agreeable tone. For the highly flattering reception with which
my present has been received by His Highness, and which I cannot
sufficiently describe, I am principally indebted to the care which you
have used in the manufacture of the instruments. At the same time I
hope to have by this present shown you my appreciation, and of having
acquired the merit of practically bringing to the knowledge of such a
personage the truth of your great skill, which will procure you,
undoubtedly, many orders from this exalted house. To prove this, I
have now to request you to begin at once two Tenors, one _Tenor_ and
the other _Contralto_, which are wanted to complete the
concerto.'"[24]
[Footnote 22: The Marquis of Ariberti was born in 1666, and died 1724.
He was an elegant writer, and a member of several literary academies.
He was for some time in Tuscany. Upon returning to Cremona, where he
settled, he built in 1687, at his own expense, a theatre called after
his own name, Ariberti. He, being a passionate lover of music, was
anxious to have in his own establishment (the theatre adjoining his
palace) a place of amusement for himself and his family. About the
year 1710 he gave up the building to a religious brotherhood, and a
church was built on the site, and used until 1798, when the
brotherhood was suppressed, and, by a singular coincidence, the
building was bought in 1801 by a society of dramatic authors, and
again opened as a theatre, which still exists, and is called Teatro
Filodrammatico. The Marquis Ariberti was appointed by Joseph I.,
Emperor of Austria, to the title of Lieutenant-Marshal; he was a
member of the High Council of State in Milan. He was buried in the
church, which, as above mentioned, was afterwards used as a theatre.
(_See_ Lancetti, "Biografia Cremonese," I vol., Milano, 1819.)]
[Footnote 23: Cosimo III. de Medici.]
[Footnote 24: A chest of Viols, Mace tells us, in his "Musick's
Monument," 1676, consisted of two Basses, two Tenors, and two Trebles.
A Concerto of Violins in Italy, according to the letter of Ariberti,
consisted of one Bass, two Tenors (Contralto and Tenor) and two
Violins. The term "Concerto" was introduced at the beginning of the
17th century, in connection with sacred music in parts. These
compositions were called Church Concertos. Towards the end of the 17th
century compositions were introduced for instruments called Chamber
Concertos.]
In the collection of relics of the great master, in the possession of
the Marquis Dalla Valle, there are some items which appear to be
connected with this most interesting letter: I refer to the designs
for a case, or cases, for a concerto of instruments dated 1684, which
Stradivari himself describes as being for the Grand Duke of Florence.
The date upon these designs is indicative of the order for the Violins
and the Violoncellos having been given in that year (1684) by the
Marquis Ariberti, who at the same time gave certain instructions as to
cases and armorial designs. The completion of the order, however,
appears to have been delayed, and the instruments were not delivered
until 1690. The instructions given in the above letter to Stradivari
to complete the concerto by making the Tenors (the patterns of which
are among those in the possession of the Marquis Dalla Valle, signed,
and dated 1690), and the existence of the Violoncello and one of the
Tenors at Florence, dated 1690, are confirmatory of the opinion that
the order was executed in 1690. The following inscription, under the
left shoulder or side, is in the Tenor: "Prima 20 Ottobre 1690 per S.
A. Da Fiorenza." It is interesting to find that the Grand Duke also
possessed a Stradivari Violin, dated 1716, which is in Florence,
together with the instruments above referred to. It is therefore
evident that the belief of the Marquis that Stradivari would receive
further orders from the Grand Duke was realised.
Between the years 1690 and 1700 Stradivari made, together with the
form of instrument just described, that known to connoisseurs as the
"long Strad." We have here quite a 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" from
its increased length, as the name would imply.[25]
[Footnote 25: The usual length measurements of the various patterns
are as under:--
(1) "Amatise," 13-7/8 inches.
(2) "Long Strad," 14-1/8 (occasionally 14-1/4) inches.
(3) "Grand pattern," 14 to 14-1/16 inches.--EDITORS.]
Fortified with the experience which the variously constructed
instruments referred to 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 Stradivari entered upon a
new era in his art. All his past labours appear to have been only
measures preliminary to that which he proposed afterwards to
accomplish, and were made for the purpose of testing, to the minutest
degree, the effect of particular modifications in the form and
thickness of his works.
If we stay to consider for a moment the field of research traversed by
Stradivari 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 Niccolo Amati, we
find him following implicitly in the footsteps 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 1690, when
he again gives forth fresh evidence of his power to create, as shown
in the "long Strad." In expending his powers on those instruments of
varied 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 result of changed methods of
construction. The marked variety of his work about this period of his
life, I cannot but regard as sufficient proof of the tentative
character of the steps he was taking in his art.
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 Stradivari, commenced
about 1700, at which time he 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 Stradivari, 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_."
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 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 Stradivari
did not absolutely confine himself to making instruments as near as
possible alike; on the contrary, it is easy to point out certain
variations, the meaning of which he doubtless 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 points in which he varied. 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 Stradivari, 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 Stradivari constructed his instruments
upon philosophical principles, the chief element of variation in the
treatment of any particular instrument must have been the difference
of _quality_ in the material; it is evident 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 same piece; and we find that the more the material varies in its
nature, so much the greater the variations--a fact 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. He might have had a cartload of wood handsome 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 cuttings of wood, 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 Stradivari Violins of 1714, with backs having but little figure,
yet this was the year in which he made the "Dolphin," which is
regarded by the chief connoisseurs in Europe as a _chef-d'oeuvre_ of
Stradivari. 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 unique. 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 Stradivari jealously
guarded the material he possessed having both handsome figure and
valuable acoustical properties. Mr. Charles Reade says of these
"Strads": "When a red Stradivari Violin is made of soft, velvety wood,
and the varnish is just half worn off the back in 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."
[Illustration: _Plate XII_. GIUSEPPE GUARNERI DEL GESU. 1738. (B.
SINSHEIMER, ESQ.) THE "DOLPHIN" STRAD. Date 1714. ANTONIO STRADIVARI.
1718. (W. S. McMILLAN, ESQ.)]
It is conceivable that a manufacture so successful as Violin-making
proves itself to have been in Italy during the seventeenth and part of
the eighteenth centuries, should give rise to scientific inquiry, in
order to discover the reason of the excellence of the best Italian
instruments, and, if possible, the principles or laws which guided the
makers in the exercise of their genius. That investigations of this
character should be attended with important results in connection with
the science of acoustics, is to be expected. As to laws or principles
of a scientific character, I doubt whether such were recognised or
understood when the excellence of the manufacture was greatest,
believing that Violin makers of the order of Stradivari must be like
poets, "born artificers, not made." The chief merits of Stradivari and
his contemporary makers were intuitive. Their rules, having their
origin in experience, were applied as dictated by their marvellous
sense of touch and cunning, with results infinitely superior to any
obtained with the aid of the most approved mechanical contrivances.
When to these considerations we add that devotedness of purpose,
without which nothing really great in art has been accomplished, we
have a catalogue of excellences sufficient to account for the
greatness of their achievements.
Turning again to the manuscript of Arisi, we find that "On the 12th of
May, 1701, Don Antonio Cavezudo, leader of the private orchestra of
King Charles II. of Spain, wrote a highly complimentary letter to
Stradivari from Madrid, assuring him that though he had received bow
instruments from several makers, for different courts, yet he had
never been able to obtain them of such a refined and beautiful tone as
those made by him." Arisi adds that Don Antonio Cavezudo was also in
the service of the Duke of Anjou.
M. Fetis, in his notice of Stradivari,[26] remarks: "The life of
Antonio Stradivari 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, 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."
[Footnote 26: "Notice of Anthony Stradivari," by F. J. Fetis,
translated by John Bishop. 1864.]
A campaign had taken place in Italy in 1701, when Prince Eugene, with
thirty thousand troops, out-generalled Catinat, the able French
commander, giving Louis XIV. the opportunity of placing the empty and
presumptuous Villeroy in command. Prince Eugene had greatly harassed
the French in Italy, when, in the night of February 1, 1702, he
surprised the French garrison of Cremona, and, though momentarily
successful, "missed the town," as Eugene said, "by a quarter of an
hour," but carried off the Commander-in-Chief, Villeroy, which the
popular song-writers of the day construed into "a double gain to
France"--Cremona saved, and Villeroy lost.
It is conceivable that Stradivari, together with his fellow-citizens,
witnessed during the year 1702 more of the pomp of war than was
agreeable. The blowing of trumpets, the beating of drums, and other
martial sounds, would be music not likely to touch pleasantly the ears
of Stradivari, apart from the discomfort attendant on military
occupation. He, however, appears to have practised his art with
undiminished zeal, judging from the following interesting information
given by Arisi. He says: "Stradivari made a complete set of bow
instruments, which he intended to present to Philip V. of Spain, on
the occasion of the passage of the King through Cremona; and he had
prepared a memorial to that effect; but he was dissuaded, and the
instruments are still in his possession."
No date is supplied with regard to the events above named; we are
therefore left to assign the period when the presentation was to have
taken place by reference to other sources of information. In an
official diary of the journey of Philip V. to Italy[27] it appears
that the King arrived in Lombardy on the 10th of June, 1702, and that
from Milan he went to Lodi on the 1st of July, and made his entry into
Cremona two days later, July the 3rd, at one o'clock in the afternoon.
Philip remained several days in the town, receiving visits from the
Dukes of Parma and of Mantua, and held there several councils of war
with the generals of the allied armies (Spanish and French), and
appears to have left Cremona on the 20th of July for the seat of war
near Mantua. After the victories of Luzzara and Guastalla, the King
passed again through Cremona, arriving there on the 3rd of October,
staying one night, and leaving the following day for Milan. On this
occasion there was much festivity on account of the victories, and the
King distributed sums of money and presents for the wounded, the
officers, and the generals. It would therefore appear that Stradivari
purposed presenting the instruments to Philip either in July or
October, 1702. The condition of affairs at Cremona at this period
apparently serves to explain the cause of Stradivari having been
dissuaded from presenting the instruments.
[Footnote 27: Contained in the work of Don A. de Ubilla y Medina,
Marquis de Ribas, entitled, "Succession de el Rey D. Philipe V.';
Diario de sus Viages, &c." Madrid, 1704, fol.]
"On the 10th of November, 1702, the Marquis Giovanni Battista Toralba,
General of Cavalry and Governor of Cremona, sent for Stradivari, and,
after complimenting him on his peculiar genius, ordered two Violins
and a Violoncello, which were afterwards sent as a present to the Duke
of Alba.
"In the year 1707, the Marquis Desiderio Cleri wrote to Stradivari, by
order of King Charles III. of Spain, from Barcelona, ordering for the
royal orchestra six Violins, two Tenors, and one Violoncello."
This extract refers to the Archduke Charles of Austria, afterwards
Emperor Charles VI. Charles III., aided by the British fleet, occupied
Barcelona in 1706. We have, therefore, the interesting facts that
Stradivari made a complete set of instruments which he intended to
present to Philip V., and that he was afterwards commissioned to make
another set for Philip's opponent, the Archduke.
Lorenzo Giustiniani, a Venetian nobleman, wrote to Stradivari the
following letter, which he received July 7, 1716:--
"Venice, Giustiniani Palace,
"Campiello dei Squellini.
"It is generally known that there is not at the present time in the
world a more skilled maker of musical instruments than yourself; and
as I wish to preserve a record of such an illustrious man and famous
artist, I trouble you with this letter, to ask whether you feel
disposed to make me a Violin, of the highest quality and finish that
you can bestow upon it."
The following extract from Arisi's manuscript brings us to the end of
the interesting information therein contained in reference to the
subject of this notice, and amply justifies the closing words of the
author, who says: "From what I have written it may be seen how great
is the excellence of Stradivari's art."
"In 1715, on the 10th of June, Giovanni Battista Voleme, director of
the private orchestra of the King of Poland, arrived in Cremona, by
special order of the King, to await the completion of twelve Violins,
which had been ordered of Stradivari, and he remained here three
months; and when all the instruments were ready, he took them with him
to Poland."
Arisi doubtless refers to the Belgian musician Jean Baptiste Volumier,
who was musical director to Augustus, Elector of Saxony and King of
Poland, famous as a patron of music and the arts. It was Augustus who
appointed Francesco Maria Veracini as his solo Violinist in 1720, and
on the title-page of the charming Sonatas of Veracini we read--
"Dedicata
a sua Altezza Reale,
il Serenissimo Principe Reale di Pollonia
et Elettorale di Sassonia.
Francesco Maria Veracini Fiorentino
Compositore di Camera di sua Maesta."
The blending of the names of Stradivari, Augustus, and Veracini,
serves to carry our thoughts into channels overflowing with
interesting musical records. Voleme (Volumier) is said to have taken
the instruments from Cremona to Poland. It would therefore appear that
the Royal Orchestra was then stationed at Warsaw, the Court Musicians
having to divide their time between that city and Dresden. In these
capitals Jean Baptiste Volumier directed the music of the Elector
Augustus from the year 1706 to 1728. Veracini was appointed solo
Violinist in 1720 to Augustus, and the instruments which Stradivari
made for the King were, therefore, only five years old. Though new,
their tones were doubtless rich and beautiful. Veracini, it may be
assumed, saw, heard, and played upon these comparatively new
Stradivari Violins. He, however, whilst fully alive to their sterling
merits, played, in all probability, upon his Stainers, which he named
"St. Peter" and "St. Paul," with more pleasure, from their being
thoroughly matured. The order given by Augustus to Stradivari, and the
King's determination to have it executed, throws a strong side-light
on the lofty position held by Stradivari as a maker of Violins. It
also appears to furnish, in some measure, an explanation of the length
of time he took to execute the order given by the Marquis Ariberti. We
have here an artist of European celebrity, who was incapable of
executing indifferent work. Commissions flowed from the chief courts
faster than they could be executed. The genius of Stradivari could not
but be true to itself. He scorned to sacrifice quality at the shrine
of quantity. His patrons had, therefore, to wait patiently for their
instruments, though it might be for years. The Elector of Saxony was
evidently resolved upon securing his Violins, and it cannot be denied
that the measures he adopted to accomplish his purpose did credit to
his perseverance, and reflected honour on the Raphael of
Violin-making.
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 Stradivari; others, again, admit
that portions of these instruments 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
Stradivari having these dates is to deny established facts. He must be
an ill-informed judge of Violins who fails to recognise the hand of
the master in several splendid specimens of this period. The rich oil
varnish with which they are covered is precisely the same in quality
as that found upon the instruments belonging to other periods, and
which he used without exception throughout his career. It is, perhaps,
laid on less carefully, and its colour is more varied. In some
instances it is brown, and in others light red, the tone of colour
varying according to the number of coats. He seems to have used,
generally, more varnish upon these instruments than on his earlier
ones. The thickness of the coats is seen in those parts (on the back
in particular) where the varnish is worn and broken, caused, in all
cases, by the shoulder of the player and the lining of the case upon
which the back rests. It must be borne in mind that Stradivari had
reached a great age when he made these instruments, and he evidently
felt proud of his ability to continue his artistic labours after
passing his ninetieth year, from the number of Violins wherein, in his
own handwriting, he proclaimed himself a nonagenarian. It would not be
reasonable to expect to find so high a finish as in 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
recognisable the splendid form, the masterly scroll, and the perfect
sound-hole. To say that Omobono Stradivari, Francesco Stradivari, or
Carlo Bergonzi had any share in these notable works, evidences hasty
judgment, if not ignorance of the style of those makers 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 of these instruments with those of Stradivari 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 Stradivari is less
known, but it is as characteristic as that of Bergonzi, and quite as
distinct from that of their father, if not _more_ so. The outline is
rugged, the modelling distinct, the scroll a ponderous piece of
carving, quite foreign to Stradivari the elder, and the varnish,
though good, is totally different from the superb coats found on the
father's works of late date.
The division of the work of Stradivari into periods makes the reader
more acquainted with the maker's style. It must be remembered,
however, that he did not strictly confine himself to making
instruments wholly of one pattern at any time, although he certainly
did so with but few exceptions until the last period, when, as
Lancetti rightly observes, he used more frequently his earlier
patterns.
The exact spot where Stradivari was buried was made known by the
researches of Signor Sacchi, a Cremonese conversant with the annals of
his native city.[28] This was an interesting addition to the meagre
information previously handed down to us touching Stradivari. It had
long been known that a family grave was purchased by Stradivari in the
church of San 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 Villani, no mention being made of San Domenico. The exact
words are, "_Buried in the Chapel of the Rosary, in the parish of St.
Matthew_." 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 Stradivari rest was unknown. Signor Sacchi finds that the
historians of Cremona (but especially Panni, in his "Report on the
Churches of Cremona, 1762") mention that the Church of San 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 San Domenico.
[Footnote 28: "The Orchestra" of July 15, 1870, contains a notice
relative to the circumstance, entitled "The Tomb of Stradivari."]
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 full to allow of further burials in its interior, the Church of
San Domenico (its subsidiary church) was chosen as a place of burial
for the parishioners, for which purpose it was used down to about
1780, and that Stradivari purchased there the grave mentioned. This
statement is confirmed by the autograph letter of Count Cozio di
Salabue, of Casale Monferato, Piedmont.
[Illustration: 1. Church of S. Domenico. 2. Chapel of the Rosary. 3.
Tomb of Stradivari. 4. Church of St. Matthew (since 1820 the Post
Office, the church having been profaned in 1808 by the French). 5.
Convent of the Dominican Friars. 6. House of Stradivari. 7. House of
Bergonzi. 8. House of Guarneri. 9. Tower of the Church of S. Domenico.
10. The Sacristy. 11. Shop of Ruggeri (Via dei Coltellai). 12-13. Shop
of Amati. 14. Shop of Storioni, and afterwards that of Ceruti.]
The Church of San Domenico was, in consequence of its decayed
condition, demolished about the year 1870. Becoming aware of what was
taking place, I gave instructions that a photograph should be taken of
the chapel in which the body of Stradivari was interred. This was
accomplished whilst the workmen were in the act of levelling the
structure, and it has been engraved on wood for the purpose of
insertion in this volume. The stone with the inscription "Sepolcro di
Antonio Stradivari E Svoi Eredi Anno 1729," which served to denote the
spot where the body was buried, is now preserved in the Town Hall of
Cremona. Signor Sacchi remembered it having been placed in the corner,
close to the steps and iron railing inside the third chapel on the
right, in the Church of San Domenico.
M. Fetis says of Stradivari, "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 Stradivari, and that he was fond of talking
about him. He was, he said, tall and thin, habitually wore, in winter,
a cap of white wool, and one 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 Stradivari!'"[29] The house he occupied
stands in the Piazza Roma, formerly called the Square of San 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 Stradivari who visit the
seat of Violin-making in olden times. After the death of Stradivari it
was occupied by his sons Omobono and Francesco; and afterwards by the
maker's youngest son, Paolo, who carried on there the business of a
cloth merchant. Stradivari worked on the ground floor, and used the
upper storey for varnishing.
[Footnote 29: "Notice of Anthony Stradivari."]
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 Stradivari; 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 exercise of considerable
patience and determination, Signor Sacchi, in conjunction with a few
Cremonese, managed to raise sufficient enthusiasm among the
inhabitants to permit the authorities to name a street after
Stradivari, and another after Amati. This worthy act was performed by
the late librarian, Professor Pietro Fecit, who aided Signor Sacchi in
his researches in connection with the past of Cremona's Violin-makers.
This street-naming was much opposed at the time. The citizens of
Cremona are, however, 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 "Stradivari" forms the Christian name
of some Englishmen. A well-known dealer, some years since, determined
to commemorate his admiration for the great maker, and, accordingly,
named his descendant "Stradivari Turner." We have stepped out of the
ordinary path of house nomenclature, and have adopted the cherished
name of "Stradivari" 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 the subject of this notice, judging from the
following announcement, which 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
Stradivari was evidently out of place in such company.
STRADIVARI, Francesco, Cremona, 1720-43.
Franciscus Stradivarius Cremonensis
Filius Antonii faciebat Anno 1742
Son of Antonio Stradivari. Worked with his brother Omobono for several
years. Many of the later works of Antonio Stradivari have been
attributed to his sons. The character of the work is wholly distinct.
I can well understand the error of attributing the instruments of
Francesco Stradivari to Carlo Bergonzi, there being many points in
common, but that so many marked specimens of the works of Antonio
should be deemed apocryphal is beyond my comprehension. The work of
Francesco is altogether less finished, but at the same time it shows
the hand of the master. The design is bold and original. The tone of
Francesco's instruments is invariably rich and telling.
Lancetti states--speaking of Francesco Stradivari--"After the death of
his father, he made several Violins and Tenors, to which he put his
own name. Although he did not succeed in perfectly imitating the works
of his father, the instruments which he made in the years 1740 and
1742, and which remained after his death in the possession of his
brother Paolo, were sold at the same price as those of his father, as
mentioned in the correspondence between Count Cozio and Paolo.
Francesco died at the end of 1742, the year Omobono died, and in which
he made the Violins bought by Count Cozio." The date of death (as
given by Lancetti), though incorrect by some months--he having died
May 11, 1743, aged 72 years--shows the care and trouble taken to
render the information as complete as possible, these dates having
been given without reference to registers, but simply as stated by
Paolo.
STRADIVARI, Omobono, Cremona, 1742.
Omobonus Stradivarius filius Antonii
Cremone fecit, Anno 1740.
Brother of Francesco. Lancetti remarks, "Omobono chiefly restored
instruments and arranged and regulated them." Francesco, it will be
seen, survived his brother about thirteen months, and with him, as
with Girolamo Amati, the son of Niccolo, we reach the end of the
family's long and historical career of Violin-making. Upon the death
of Francesco, the shop in the Piazza San Domenico (now named Piazza
Roma) was closed, after having been occupied by the family of
Stradivari as Violin-makers for upwards of sixty-three years. From
here were sent into cathedral, church, and royal orchestras the
largest number of Violins and kindred instruments ever made by one
maker--instruments which bore the indelible stamp of genius and have
gladdened the sight and hearing of untold thousands. The famous shop,
as previously noticed, was next opened by Paolo Stradivari, who was a
cloth merchant or warehouseman. Paolo died in 1776, a year after the
date of the correspondence which passed between him and Count Cozio di
Salabue. Antonio, son of Paolo, born in 1738 and married in 1762, had
a son Giacomo, born in 1769 and married in 1797. Cesare, the son of
Giacomo, became a physician in Cremona, married in 1838, and left, as
the representative of the Cremonese branch of the family, Dr. Libero
Stradivari, a barrister-at-law and an excellent performer on the
flute.
SURSANO, Spirito, Coni, 1714-35.
TANEGIA, Carlo Antonio, Milan, early in the 18th century.
TANINGARD, Giorgio, Rome, 17--.
TECCHLER, David, Rome, 1680-1743.
David Tecchler Liutaro
fecit Romae 17--
A highly esteemed maker. He worked in Venice, Salzburg, and Rome,
chiefly in the latter city. His instruments vary in form, some having
a marked 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 chiefly 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 yellow tint; the bellies are of a mottled
character, similar to those so much used by Niccolo Amati. His
Violoncellos are among the finest of his instruments. They are mostly
of a large size.
TEDESCO, Leopoldo, pupil of Niccolo Amati. He went to Rome. I have
seen a Violin of his make dated from there 1658. Workmanship a little
rough, good varnish, Amati outline.
TESTORE, Carlo Giuseppe, Milan, about 1690 to 1720. The form resembles
that of Guarneri. The wood is often plain in figure.
TESTORE, Carlo Antonio, Milan, about 1730 to 1764. Son of Giuseppe.
Copied Guarneri and Amati. These instruments are bold and well made;
their tone is excellent; wood often plain in figure.
TESTORE, Giovanni, son of Carlo Antonio.
TESTORE, Paolo Antonio, Milan, about 1740. Brother of Carlo Antonio.
Copied Guarneri. The varnish is mostly yellow; frequently unpurfled.
TIEFFENBRUCKER, Leonardo, Padua, 1587. Lute-maker.
TODINI, Michele, seventeenth century, a native of Saluzzo, lived for
many years at Rome. Todini was the inventor and maker of a great
number of musical contrivances, in which clockwork played an important
part. He occupied himself with this manufacture for several years, and
turned his house into a kind of musical museum. He published in 1676 a
pamphlet describing its contents. His name is associated with our
subject in having adopted a new mode of stringing the Violono, or
Double-Bass, by using four strings, and playing himself upon the
instrument at oratorio performances in Rome. I have mentioned in
Section I. that the Violono was originally used with several
strings--five, six, or seven--and with frets. Todini is therefore
credited with having introduced the method of stringing the Double
Bass which led to the conversion of the old Violonos into
Double-Basses fitted for modern requirements.
TONONI, Carlo, Bologna. At the exhibition at Milan in 1881, an inlaid
Kit, of beautiful workmanship, was exhibited of this maker.
Carolo Tunonus fecit Bononiae
in Platea Castaelionis Anno Domini 1698.
TONONI, Carlo Antonio, Venice, born at Bologna, probably a son of the
above.
Carolus Tononi Bonon fecit Venetiis
sub Titulo S. Cecilae Anno 1739.
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 Santo Serafino, is similar. These Violins are
branded above the tail-pin. His instruments date from about 1716.
TONONI, Giovanni, about 1700. Similar characteristics.
TONONI, Felice, Bologna.
TONONI, Guido, Bologna.
TOPPANI, Angelo de, Rome, about 1740. Scarce; workmanship resembles
that of Tecchler.
TORTOBELLO, Francesco, Rome, 16--. Maggini characteristics.
TRAPANI, Raffaele, Naples, about 1800. Large pattern; flat model;
purfling deeply laid; edges sharp; scroll heavy.
VALENZANO, Gio. Maria, Rome, 1771 to about 1830. Neapolitan character;
neat work; varnish excellent in some specimens, being soft and
transparent.
VETRINI, Battista, Brescia, about 1629. Yellow varnish of good
quality; handsome wood; rather small.
VIMERCATI, Paolo, Venice, about 1700. Similar to Tononi. Jacob Stainer
is said to have worked in the shop of Vimercati.
WENGER, Padua, Lute-maker, 1622.
ZANNETTO, Pellegrino, Brescia, 1547. M. Chouquet in his "Catalogue
Raisonne" of the instruments at the Conservatoire in Paris, describes
a six-string Viol da Gamba of this make.
ZANOLA, Giovanni Battista. Flat model; rough workmanship; German
character.
Joannes Baptista Zanola, Verona, 17--
ZANOLI, Giacomo, 1740-80. Verona. Worked in Venice, Padua, and Verona.
Venetian character.
ZANOTTI, Antonio, Mantua, about 1734.
Antonius Zanotus, fecit Mantuae, anno 1734.
ZANTI, Alessandro, Mantua, 1765. He copied Pietro Guarneri, but had
little knowledge of varnishing, if we are to judge from the few
instruments of this maker extant.
ZANURE, Pietro, Brescia, 1509. A maker of Viols.
ZENATTO, Pietro, Treviso, about 1634.
Pietro Zenatto fece in
Treviso Anno 1634.
SECTION VII
The French School
The French have long occupied a foremost place in the 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 workmanship and artistic treatment. The French
manufacture of Violins appears to have commenced about the same period
as the English, viz., in the early part of the 17th century, Francois
Medard and Tywersus being among the French makers, and Rayman and Wise
their fellows in England. The primitive French makers, like their
English brethren, copied the instruments made at Brescia and Cremona,
to which course they adhered 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 copying the
Italians, with scarcely any deviation, to the present time. The
English left the Italian form for the German one of Jacob Stainer,
which they adopted, with but few exceptions, for nearly a century,
recovering the Italian about the middle of the 18th 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 older 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 appear to have been many makers who were
quite unconcerned whether their instruments possessed merit becoming
the productions 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
Boquay, Pierray, and one or two of their pupils are the only makers
deserving of praise. It must be admitted that the shortcomings of the
makers of the first period were adequately supplied by those of the
second period, which includes the king of French artists, Nicolas
Lupot. The old French school, originating with Tywersus and Medard,
includes the following makers: Nicolas Renault, of Nancy, Medard, also
of Nancy, Dumesnil, Bertrand, Pierray, Boquay, Gavinies, Chappuy,
Ouvrard, Paul Grosset, Despont, Saint-Paul, Salomon, Veron, 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 fame.
Others contented themselves with copying, without giving any place to
their fancy. It will be found that many of the instruments by Boquay,
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 their good ones. It is
evident that they made two qualities of varnish, in accordance with
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 practice. Their works are
of one uniform quality in point of varnish. This divergence 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 would be the case; hence its more sparing use.
We will now glance at the second French School of makers, commencing
with De Comble. Learning his art in Italy, and, it is said, under
Stradivari, he brought to bear a knowledge superior to that possessed
by the makers mentioned above. The form he introduced was seen to be
in advance of that hitherto met with among the French and Belgian
makers, and led to its being chiefly followed. The next maker was
Pique, who made Violins and Violas that were excellent in point of
workmanship, and had he been equally successful in varnishing he would
probably have been held in the same estimation as Nicolas Lupot. From
these makers sprang quite a little school of its own, comprising
Francois Gand, in Paris, who succeeded to the business of Lupot, and
Bernardel, with several others less known. Mention must not be omitted
of another excellent copyist--Silvestre, of Lyons. He has left some
charming specimens of his art. They are lighter in character than the
works of Nicolas Lupot, and resemble the work of Stradivari from 1680
to 1710. Every portion of the work evidences the skill and judgment of
the maker. The wood, with scarcely an exception, has not been
manipulated in order to darken it, consequently the instruments become
of increasing merit as age acts upon them.
The practice of preparing the wood for Violin-making, either by baking
it or by the application of acids, may be traced, in the first
instance, to a desire to obtain artificially those results which are
brought about by the hand of time. In obtaining lightness and dryness
in new wood, it was imagined that the object in view would be reached
without the aid of Dame Nature. Experience, however, has shown that
Fiddles, like all things intended to pass into green old age, mature
gradually, and are not to be benefited by any kind of forcing process.
The earliest account I have met with of Fiddle-baking occurred in
England about 150 years since. One Jeacocke, a baker by trade, and a
lover of music by nature, used to bake his Fiddles in sawdust for a
week whenever their tones showed symptoms of not being up to his
standard of quality. In France the practice may be said to have been
introduced about eighty years ago, with a view of facilitating the
creation of such mysteries as Duiffoprugcar and Morella Violins, baked
and browned until they had something of a fifteenth-century hue. The
same means were adopted in the production of instruments intended as
copies of the works of Stradivari and Guarneri. The brown hue of the
originals, and the worn and broken condition of the varnish which
comes of age alone, were imitated with more or less ingenuity. Happily
the error is recognised, as far as the best workmanship is concerned,
in France. The legitimate imitator's art no longer includes that of
depicting wear and brownness, rendering abortive so much excellent
work.
It only remains now to mention Salle, Vuillaume, Chanot, Gand,
Germain, Mennegand, Gaillard, and Miremont, all copyists of more or
less note, who may be said to complete the modern French school. These
makers are or were the chief manufacturers 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 common
cabinet work is produced in England, by several workmen, each taking a
portion, one making the backs, another the sides, another the bellies,
and so on with the other parts of the instrument, the whole being
finally 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 has 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 and Saxony[1] amounts to many thousands, and
is yearly increasing. They send forth repeated copies of Amati,
Maggini, Guarneri, and Stradivari, all duly labelled and dated, to all
parts of the world, 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 produce
various kinds of modern antiques in Violins, some of which display an
amount of ingenuity worthy of being exercised in a better cause; but
usually the whole thing is overdone, and the results, in point of
tone, are far more disastrous than in the common French copies. The
following list of French, Belgian, and Dutch makers contains many
names not included in the first edition of this book. The works
wherein several of these names occur are M. J. Gallay's, "Les Luthiers
Italiens aux 17ieme et 18ieme Siecles," 1869; M. Fetis, "Biographie
Universelle des Musiciens;" M. Vidal, "Les Instruments a Archet,"
1876; the "Catalogue Raisonne," of the instruments at the
Conservatoire, by Gustave Chouquet, Paris, 1875; "Recherches sur les
facteurs de Clavecins," by M. le Chevalier de Burbure, Antwerp, 1863;
Pougin's "Supplement to the Dictionary of Fetis;" and Mendel's
"Musikalisches Conversations-Lexikon," 1880.
[Footnote 1: Germany's yearly output of such instruments is enormous,
the principal seats of manufacture being Mark-Neukirchen (Saxony) and
Mittenwald (Bavaria).]
SECTION VIII
French Makers
ALDRIC, Paris, 1790-1844. Copied Stradivari with great skill. He was
also well known as a dealer in Cremonese instruments. He was one of
the earliest French makers who dealt with Luigi Tarisio, the famous
Italian connoisseur. He generally used a red varnish of good quality.
ALLAR, ----, Paris, 1788.
AMELOT, ----, Lorient; worked early in the present century. He used a
highly ornamented label.
AUBRY, ----, Paris, 1840. Succeeded his uncle Aldric, mentioned above.
AUGIERE, ----, Paris, about 1830, was established in the Rue Saint
Eustache, in partnership with Calot, and made some good instruments.
Augiere formerly worked in the shop of Clement of Paris.
BACHELIER, ----, Paris, 1788.
BASSOT, ----, Paris, 1788.
BERNARDEL, Auguste Sebastien Philippe, born at Mirecourt in 1802, was
in the workshop of Lupot, in Paris. The instruments of this maker are
excellently made, and the wood judiciously selected. He took his sons
into partnership in 1859 and retired from business in 1866. He died in
1870. His sons, Ernst Auguste and Gustave Adolphe, were in partnership
with Eugene Gand, and the firm was known as "Gand et Bernardel
freres."
BERTRAND, Nicolas, Paris, about 1700 to 1735, used varnish of a
superior kind. He made many of the Viols of the type common in Paris,
for some time after the Violin had been introduced; they were named
Dessus-de-Viole, Pardessus, Quinton, and Viole-haut-contre. His name
is often seen branded on the backs of his instruments, inside.
BOIVIN, Claude, about 1749, Paris. M. Chouquet, in his "Catalogue
Raisonne" of the instruments at the Paris Conservatoire, described a
Guitar by this maker, made for a daughter of Louis XV.
[Illustration: _Plate XIII_. ANTONIO STRADIVARI. 1702. ANTONIO
STRADIVARI. 1722. ANTONIO STRADIVARI. 1703.]
BOQUAY, Jacques, Paris, 1700-1730.
Jacques Boquay,
rue d'Argenteuil, a Paris, 1723.
One of the first of the old French school. He, with a few of his
contemporaries, inherited a good amount of the Italian character of
workmanship, introduced probably into France by Nicolas Renault.
Boquay, 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
instruments of small size. The model is often that of Girolamo Amati,
but slightly more arched; the sound-hole is more rounded and less
striking. The scroll can scarcely be considered a copy of Girolamo
Amati's; it is well cut, but lacks the peculiar grace of the Italian.
The tone is sweet, without much power.
BORLON, Artus or Arnold, about 1579, Antwerp, maker of stringed
instruments (mentioned in the pamphlet by M. le Chevalier de Burbure).
BORLON, or PORLON, Pierre, Antwerp, about 1647, of whom M. de Burbure
says: "Pierre Borlon, or Porlon, made in the year 1647 a Double-Bass
for the orchestra of the Cathedral (Antwerp). The instrument is in
existence, and inside is the name 'Peeter Porlon tot, Antwerpen f.
1647.'" The same author mentions another early Double-Bass made in
1636 by Maitre Daniel for a chapel in Antwerp, and remarks, in
passing, that in other countries the Double-Bass was not used until
about half a century later. The question of priority in this matter is
important and interesting; but in order to arrive at a satisfactory
conclusion, it is necessary to be certain that these Belgian Basses
are not, together with the Brescian and others, converted Viols.
BORLON, Joannes, Antwerp, also a maker of Viols.
BORLON, Francois, Antwerp, Viol-maker.
BOULLANGIER, C., 1823-1888. Worked in Paris, and for the late Mr.
Withers. Was in business for many years in Frith Street, Soho, and has
made many excellent instruments.
BOUMEESTER, Amsterdam, about 1650.
BOURDET, Sebastien, Mirecourt, one of the earliest Violin-makers in
Mirecourt.
BOURDET, Jacques, Paris, 1751.
BOUSSU, Eterbeck, le Bruxelles, about 1750.
BRETON, 1777. This name is met with branded on the backs, "Breton a
Paris." A little heavy in character, but fairly made; dark brown
colour.
BRETON, Le, Mirecourt, 1812-30. Commonplace instruments. Large
pattern, usually stamped with name inside.
BRUGERE, the name of several contemporary French makers, dating from
Mirecourt and elsewhere. Some show good workmanship and varnish.
CALOT, ----, about 1830. He was in the workshop of Clement prior to
date given. _See_ AUGIERE.
CASTAGNERY, Andrea. _See_ Italian list.
CASTAGNERY, Jean Paul. M. Fetis mentions this maker as having worked
in Paris, 1638-62.
CHAMPION, Rene, Paris, about 1735. His instruments are well made, and
the varnish is of good quality.
CHANOT, Francois, born at Mirecourt in 1788. An engineer by
profession. Becoming interested in the construction of Violins, he
designed one having sides like those of the guitar. M. Chouquet
describes a Violin of this maker, made for Viotti, and remarks that
the experiment of Francois Chanot opened the way to those of Savart.
The date of Chanot's patent is 1818. The paper of Savart on the
construction of bow instruments was read at the French Academy in the
following year.
CHANOT, Georges, Paris. Brother of the above-named; born at Mirecourt,
1801. Throughout life was a most indefatigable worker. He has made a
very large number of copies of Stradivari and Guarneri, chiefly of the
former, which are also the best. They are well constructed
instruments, and the wood is of an excellent description. He was long
known as a dealer in Cremonese instruments, and many notable rarities
passed into his possession. The instruments of this maker will, at no
distant date, be valued higher than they are at the present time. He
died in 1883.
CHANOT, Georges, London. Son of Georges Chanot, Paris. Assisted
Charles Maucotel, and a short time afterwards started in business on
his own behalf. He died in 1893.
CHANOT, F. Son of Georges Chanot.
CHANOT, G. A. Brother of the above-named.
CHAPPUY, Nicolas-Augustin, 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. Chappuy differed greatly in his
work. When 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.
The Violin M. Habeneck used during thirty-seven years, when
instructing his class at the Conservatoire, Paris, was made by
Chappuy, and is preserved at that institution.
CHARDON, Joseph, Paris, son-in-law and pupil of Georges Chanot, Paris,
to whose business he succeeded in the year 1872.
CHAROTTE, ----, born at Mirecourt, settled at Rouen. Died in 1836.
CHATERAIN, Paris, about 1759. Good workmanship.
CHEVRIER, Andre-Augustin, about 1838. Born at Mirecourt, worked in
Paris and Brussels.
CLAUDOT, Charles, Paris, possibly came from Mirecourt. The workmanship
is heavy; varnish mostly yellow. His instruments are good for
orchestral purposes. His name is generally found stamped on the back,
inside.
CLAUDOT, Augustin, Paris, "Strad" pattern, yellow varnish, good wood.
CLEMENT, ----, Paris, 1815-40.
CLIQUOT, Henri, Paris, about 1765.
CLIQUOT, Louis Alexandre, about 1765.
COUSINEAU, Paris, about the end of the 18th century. Well made, name
often branded on button.
CUNAULT, Georges, Paris, contemporary; worked with Miremont, and
afterwards alone; a careful maker.
CUNY, ----, Paris. 18th century.
CUYPERS, Johannes, 1755-18--. Worked at the Hague; varnish often
yellow in colour. Well finished instruments, which are rising in
value.
DANIEL, ----, 1656, is described as having made a Double-Bass for the
orchestra of one of the chapels at Antwerp Cathedral.
DARCHE, Nicholas, Aix la Chapelle, died 1873. Made many useful
instruments on the lines of the Cremonese Masters. Other makers of
this name worked in Brussels and Mirecourt in the 19th century.
DAVID, ----. Maker to the court of Louis XVI.
DE COMBLE, Ambroise, Tournay, about 1760.
Fait a Tournay par
Ambroise de Comble, 1750.
It is said that he worked in the shop of Antonio Stradivari, and
judging from the character of the work, together with that of the
varnish, it is not unlikely that he did receive instructions from the
great Cremonese maker. The varnish is very like Italian; 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 Stradivari after
1732 in form, though not in workmanship, and he would therefore seem
to have copied those late instruments. They may be described as of
large pattern, flat model, and having an abundance of wood. They are
deserving of attention both from the professor and the amateur, the
workmanship being skilful and the material excellent. The tone is
large, and frequently possesses 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.
DEHOMMAIS, Paris, 1870. _See_ GERMAIN (Emile).
DELANOIX, ----, Bruxelles, about 1760.
DELAUNAY, ----, Paris, 1775, Viol-maker. M. Chouquet describes an
instrument of this maker which is in the collection at the
Conservatoire.
DELEPLANQUE, Gerard, Lille, 1768.
DERAZEY, Honore, Mirecourt. Many of the instruments of this maker are
carefully finished. They are heavy in wood. The varnish is inclined to
hardness. Died 1875.
DERAZEY, J. A., Mirecourt, 1815-85. Son of Honore; purchased the
business of Nicolas. Made many useful instruments.
DESPONS, Antoine, Paris, 17th century, is said to have made excellent
instruments of various patterns.
DIEULAFAIT, ----, 1720, Viol-maker. A Viol da Gamba of this maker is
at the Conservatoire, Paris.
DROULOT, ----, Paris, 1788.
DUCHERON, Mathurin, Paris, 1714.
DU MESNIL, Jacques, Paris, about 1655.
EESBROECK, Jean Van, 1585, Antwerp, Lute-maker. M. C. Chevalier de
Brabure states he was the son of Josse van Eesbroeck, of Maria Kerch.
He gives some interesting particulars relative to the connection of
music with the guild of St. Luke at Antwerp, and speaks of the makers
of Clavichords seeking for admission into the Guild in 1557, adding
that it was natural these makers should desire to belong to a
corporation so great and honourable as that of St. Luke, which since
1480 had its Chambers of Rhetoric "dite _de Violiren, de Violier_."
FALAISE, ----. Copied the Amatis and Stradivari. The workmanship may
be likened to that of Pique. Varnish yellow and thin. There is no
indication of a resort to any maturing process. Wood frequently
handsome.
FENT, or FENDT, ----, Paris, 1780. A maker known among French
connoisseurs; related to the Fendts who worked in London.
FLEURY, Benoist, Paris, from about 1755 to 1788. A Viol da Gamba of
this maker, from the Clapisson collection, is at the Conservatoire,
Paris.
FOURRIER, Nicolas, Mirecourt. _See_ NICOLAS.
GAILLARD, Charles, Paris, about 1850-81. Born at Mirecourt. Worked in
Paris with C. A. Gand, and later on his own account. He was one of the
best modern French makers, and his instruments already take high rank
and command good prices.
GAILLARD-LAJOUE, J. B., Mirecourt, brother of the above. Apprenticed
to Gand, for whom he worked until about 1852. Much of his work is of a
high order, and his best instruments are yearly increasing in value.
He died about 1870.
GAND, Charles Francois, Paris. He became a pupil of Nicolas 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 reputation, and perhaps restored more valuable
instruments than any repairer of his time. The care that he took and
the judgment which he exercised in endeavouring to bring together the
various broken parts of an imperfect instrument, that the original
appearance might be maintained as closely as possible, cannot be too
highly praised. He often accomplished seeming impossibilities.
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 might 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 only spend hours. He made many Violins,
several of which were given as prizes at the Paris Conservatoire. They
are well-made instruments, though heavy in appearance. They are good
serviceable instruments, and, the wood not having been browned by
baking or other injurious process, age mellows them greatly. He died
in the year 1845.
GAND, Charles Adolphe, son of Charles Francois Gand, was instructed by
his father, and succeeded, together with his brother, to the
old-established house founded by his grandfather. He died in 1866.
GAND, Charles Nicholas Eugene, Paris, brother of C. Adolphe Gand, was
a connoisseur of much experience and reputation. Upon the death of his
brother C. Adolphe he entered into partnership with Bernardel
Brothers. The firm employed many workmen, and turned out large numbers
of useful, well-made instruments, with red varnish. They were the
recipients of numerous medals and decorations. C. N. E. Gand died in
1892.
GAVINIES, Francois, Paris, about 1734.
Gavinies, rue
S. Thomas du Louvre,
a Paris, 17--
Father of Pierre Gavinies, the Violinist. Old French school. The wood
is often of excellent quality, and the varnish also. Many of these old
French makers, like our good English ones, made instruments of two
qualities, and Gavinies was one of them.
GERMAIN, Joseph Louis, born at Mirecourt in 1822. In Paris he was
employed by Francois Gand, and afterwards worked for Vuillaume, for
whom he made several choice instruments. It is to be regretted that
his exceptional abilities were not allowed to add lustre to his name,
he having made for the trade. He died in 1870.
GERMAIN, Emile, Paris. Son of the above; established in Paris as a
maker and restorer of Violins. He was, until 1882, in partnership with
a maker named Dehommais.
GOSSELIN, ----, Paris, 1814-40.
GRAND-GERARD, Paris, about 1800. Commonplace work branded occasionally
with his name.
GRANDSON, Fils, Mirecourt, about 1850.
GROSSET, Paul Francois, Paris, about 1750. Pupil of Claude Pierray.
GUERSAN, Louis, succeeded Paul Pierray.
Ludovicus Guersan prope Comaediam Gallicam, Lutetiae,
Anno 1766.
HEL, Pierre Joseph, Lille, contemporary. Well-made instruments.
HENRY, Jean Baptiste. Born 1757, near Mirecourt. Worked in Paris.
HENRY, Jean Baptiste Felix, son of the above. Established in Paris
1817.
HENRY, Charles, brother of the above, born 1803. Made several
excellent instruments.
HENRY, Octave, nephew of Charles.
HENRY, Eugene, son of Charles, born in 1843.
HOFMANS, Mathias, Antwerp, 1700-25. A Kit of this maker was exhibited
at Milan in 1870.
JACOBS, Hendrik, Amsterdam, 1690-17--. A close imitator of Niccolo
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 Niccolo 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. Excellent
varnish, of a deep red, very transparent; full of character, but
wanting in finish. Purfling embedded.
JACQUOT, Charles, born at Mirecourt in 1804. Worked in Paris. He
obtained prizes for his instruments at the Paris and other
exhibitions.
JACQUOT, Pierre Charles, Nancy, son of the above.
JEANDEL, P. N., born in 1812. Worked for some years in Paris, and
received prizes at the Paris and other exhibitions. He died in 1879.
KOLIKER, ----, Paris, 1789-1820.
LAMBERT, Jean Nicolas, Paris, about 1745.
LAPAIX, ----, Lille, about 1855.
LAPREVOTTE, Etienne, Paris, 1825-56.
LECLERC, ----, Paris, about 1775.
LECOMTE, ----, Paris, 1788.
LEDUC, Pierre, Paris, 1646.
LEFEBVRE, ----, Amsterdam, about 1730.
LEFEBVRE, ----, Paris, 1788.
LE JEUNE, Francois, Paris, 175-.
LE PILEUR, Pierre, about 1754.
LESCLOP, Francois Henry, Paris, 1746.
LOUIS, ----, Geneva.
LOUVET, Jean, Paris, 1750.
LUPOT, Jean, Mirecourt.
LUPOT, Laurent, Mirecourt, born 1696. Son of Jean Lupot, removed to
Plombieres, afterwards to Luneville, and again to Orleans.
LUPOT, Francois, born 1736. Son of Laurent. Born at Plombieres. In the
year 1758 he removed to Stuttgart, and was appointed maker to the Duke
of Wurtemberg. Francois removed with his son Nicolas to Orleans in
1770. He died in Paris in 1804. The workmanship and style are similar
to those seen in the instruments of Chappuy and other makers of that
period. Scroll rather rough, varnish dark brown, broad pattern.
LUPOT, Nicolas, son of Francois, born at Stuttgart in 1758, removed
with his father to Orleans in 1770.
N. Lupot fils, Luthier,
rue d'Illiers, a Orleans, l'an 1791.
Nicolas Lupot, Luthier, rue de
Grammont; a Paris, l'an 1803.
Nicolas Lupot, Luthier, rue Croix
des-petits-champs, a Paris, l'an 1817.
He established himself in Paris in 1794, his fame having 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 the patronage of the Conservatoire of Music, an honour which is
attended 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
opportunity of exercising to the 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 was retained by the latter's son, in
conjunction with Bernardel. Nicolas Lupot may be justly termed the
French Stradivari. He was an artist in every sense of the word. He
regarded the works of Stradivari with the utmost veneration. While,
however, he laboured unceasingly to imitate him, he scorned all those
mischievous maturing processes common to so many French copyists; he
never desired that his copy should pass with the unwary as the
original; it left his hands wholly unsophisticated. 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, inasmuch as all new Violins, so varnished, have
a crude appearance, notwithstanding any amount of high finish expended
upon them. What, however, Lupot lost in his own day has been awarded
to his name a hundredfold since. He seldom occupied himself in copying
Guarneri or Amati, although there are a few beautiful examples met
with now and again in which he adopted these forms. Stradivari was his
idol, and from the fact already mentioned, that he is very rarely
found to have followed any other model than that of Stradivari, he
would seem to have been 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. 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 the French. Its colour varies
between light and dark red. Age has assisted in heightening its
lustre, and although it will never rank with the varnish of Cremona,
yet it will hold its own 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 could not serve to benefit such instruments; on the contrary, it
would reduce 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.
MARQUIS DE LAIR, Mirecourt, about 1800. The name is generally branded
on the back. The wood is chiefly of a plain description, and varnish
wanting in transparency.
MAST, Jean Laurent, Paris, about 1750.
MAST, Joseph Laurent, Mirecourt and Toulouse. Son of Jean Laurent. A
Violin dated 1816 is in the Museum of the Paris Conservatoire.
MAUCOTEL, Charles, born at Mirecourt, in 1807. In 1834 he entered the
workshop of Gand in Paris. In 1844 he was employed by Davis, of
Coventry Street, London, and ultimately commenced business in Rupert
Street, from which he retired in 1860, and returned to France. He made
several instruments, all of which have good qualities in workmanship
and tone. They are strong in wood and carefully modelled.
MAUCOTEL, Charles Adolphe, Mirecourt, worked in Paris from 1839 until
1858, in which year he died. He made many excellent instruments.
MEDARD, Francois, was established in Paris about 1700.
Franciscus Medard
fecit Parisiis 1710.
The work is excellent, and the varnish soft and transparent.
MEDARD, Nicolas, Nancy, brother of Francois.
MEDARD, Jean, Nancy, brother of Nicolas.
MENNEGAND, Charles, born at Nancy in 1822. He is distinguished both as
a maker and repairer of instruments. He entered the service of Rambaux
in Paris in 1840. He has been rightly regarded as having displayed
singular ability in the delicate and difficult task of "cutting" the
large Italian Violoncellos and Tenors. The practice of reducing the
dimensions of Cremonese instruments has happily come to be looked upon
as emulative of the acts of the Goths and Vandals. It is in any case
certain that numerous instruments have been operated upon with no
greater skill than might have been expected at the hands of those
barbarians. "These ruthless men," remarks Charles Reade, "just sawed a
crescent off the top, and another off the bottom, and the result is a
thing with the inner bout of a giant and the upper and lower bout of a
dwarf." He rightly names this, "cutting in the statutory sense, viz.,
cutting and maiming," and implores the owner of an instrument in its
original state to spare it, and if too large, to play on one of the
value of 5 pounds, with the Cremona set before him to look at while he
plays. To "cut" a Cremona, and to cut a diamond into a brilliant or a
rose, are tasks equally difficult. The indifferent operator, in both
cases, suffers more or less from the injury and annoyance his
unskilfulness has occasioned. Borgis, a Venetian diamond-cutter, was
employed by Shah Jehan to cut the Koh-i-nor, and in place of a reward
was fined ten thousand ducats for his imperfect performance. Had it
happened that some possessors of Cremonese gems had inflicted monetary
or other punishment on incapable instrument cutters, the world would
have been richer in Cremonas. Mennegand was at Amsterdam for a few
years, and returned to Paris in 1857. He died in 1885.
MIREMONT, Claude Augustin, Paris. Born at Mirecourt in 1827, removed
to Paris in 1844. Miremont has made several excellent Violins, copies
of Stradivari and Guarneri. He was for some years in New York, but
returned to Paris and died at Pontorson in 1887.
MODESSIER, ----, Paris, 1810. Made several instruments of large
pattern, excellent for orchestral purposes. Wood of good quality.
MOUGENOT, Georges, Brussels, contemporary.
NAMY, ----, Paris, 1780 to 1806.
NEZOT, ----, about 1750, maker of Viols.
NICOLAS, Francois (Nicolas Fourrier), went from Mirecourt to Paris,
where he is said to have worked from about 1784 to 1816.
NICOLAS, Didier, Mirecourt, 1757-1833. The instruments of this maker
are chiefly of large size, the outline being after that of Stradivari.
They are mostly stamped on the back, inside, "A la ville de Cremonne,
D. Nicolas Aine." Colour, yellow; tone very powerful, and admirably
adapted for the orchestra.
NICOLAS, Joseph, son of Didier, born 1796, died 1864.
OUVRARD, Jean, pupil of Claude Pierray.
[Illustration: _Plate XIV_. ANTONIO STRADIVARI.]
PACHERELE, Michel, Paris, about 1779.
PACHEREL, Pierre, Nice, died 1871, probably related to Michel
Pacherele. Good workmanship; made several copies of Stradivari.
PAUL, Saint, Paris, 17th century. Chiefly copied Amati. In the style
of Boquay.
PIERRAY, Claude, Paris, from about 1700 to 1725.
Claude Pierray, proche la Comedie
a Paris, 1725.
Was an excellent workman, and many of his productions partake of the
Italian character to a considerable extent. They are of two patterns,
the majority being large. Amati would seem to have been his model, but
his instruments 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 variable. The work is of average merit. Varnish is of a pale red
colour, of good quality. It is interesting to learn that these
instruments were appreciated in England at the beginning of the
eighteenth century. Tom Britton had in his collection of books and
instruments at Clerkenwell a "Claude Pierray," which is described in
the sale catalogue as "a very beautiful Violin, and as good as a
Cremona."
PIETE, N., Paris, about 1780.
PILLEMENT, F., Paris, 1790-1820. Work branded inside.
PIQUE, F. L., Paris, about 1788-1822.
Pique, rue de Grenelle St. Honore,
au coin de celle des 2 Ecus, a
Paris, 1790.
As a copyist of Stradivari, this maker approached, perhaps, nearest to
Nicolas Lupot. It has been supposed that some Violins bearing the name
of Pique were made by Lupot, and varnished by Pique. 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, exaggeration, that common error of the copyist, 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
of a fine quality of wood. The instruments of Pique have long been
esteemed, and will grow in reputation.
PIROT, Claude, Paris, about 1800. Pressenda style and appearance.
PONS, Cesar, Grenoble, about 1775.
PONS, ----, Paris, chiefly known as a maker of Guitars.
RAMBAUX, Claude Victor, born 1809. Worked in early life at Mirecourt,
and afterwards in Paris. He 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. He died in 1871.
RANCE, Thomas, Brussels, about 1683. Good workmanship, well purfled,
flat model.
RAUT, Jean, worked at Rennes about 1760.
REMY, ----, Paris, about 1760.
REMY, Jean Mathurin, Paris, 1770-1854.
REMY, Jules, Paris, 1813-76.
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 instruments prematurely old
without the qualities of healthy age.
RENAUDIN, Leopold, Paris, about 1788.
RENAULT, Nicolas, an early maker, contemporary with Tywersus.
ROMBOUTS, Peeter, Amsterdam, about the middle of the 18th century.
High model, varnish of much brilliancy, but flaky.
ROZE, ----, Orleans, about 1760. Average workmanship, yellow varnish,
heavy scroll.
SACQUIN, ----, Paris, 1830-60, made several excellent instruments; oil
varnish of good quality, neat work, "Strad" pattern, name branded on
back, inside.
SALLE, ----, Paris, about 1825-50. Made several copies of Guarneri,
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.
SALOMON, Jean Baptiste Deshayes, Paris, about 1750.
SAUNIER, ----, about 1740-70.
SCHNOECK, Egidius, Brussels, 1700-30.
SILVESTRE, Pierre, Lyons. 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 develop both qualities needs the mind of a
Stradivari. Silvestre was fortunate in procuring wood of beautiful
quality; there is scarcely an instrument of his which is not handsome.
He chiefly copied Stradivari. It is to be regretted that so few of his
works are to be met with. Pierre Silvestre was born at Sommerwiller in
1801, and died at Lyons in 1859. In Paris he worked in the workshop of
Lupot, and in that of his successor, Francois Gand.
SILVESTRE, Hippolyte, born 1808, brother of Pierre, with whom he
worked in partnership at Lyons from 1831-48. Hippolyte worked in the
shop of Vuillaume. He retired from business in 1865.
SILVESTRE, Hippolyte Chretien, Lyons, succeeded to the business of his
uncles, Pierre and Hippolyte, which he transferred in 1884 to Paris.
SIMON, Claude, Paris, about 1788.
SIMONIN, Charles, Paris and Toulouse, pupil of J. B. Vuillaume.
SOCQUET, Louis, Paris, about 1760-1800.
THERESS, Charles, London.
THIBOUT, Jacques Pierre, Paris, born 1777, died 1856. A well-known
dealer in rare Italian instruments. To him belongs the merit of having
encouraged Luigi 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, prevailed on him to remove
his rich wares to Paris. Jacques Pierre Thibout was an excellent
workman, and his instruments are highly esteemed.
THOMASSIN, ----, Paris, about 1845.
TYWERSUS, ----, Nancy, 16th century.
VAILLANT, Francois, Paris, about 1750.
VERON, Pierre Andre, 1720-50.
VIBRECHT, Gysbert, Amsterdam, about 1700.
VUILLAUME, Jean, Mirecourt, 1700-40.
VUILLAUME, Claude, Paris, 1772-1834. The earliest maker of this
family; made commonplace instruments branded with his name.
VUILLAUME, J. B., Paris, born 1798, died in 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
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 perseverance. 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. He employed a
number of skilful workmen, some of whom have achieved independent and
individual reputations, and will be found noticed in their proper
places in this work.
VUILLAUME, N. F., Brussels. Brother of the above. Was well known both
as a maker and connoisseur. Born in 1802; died 1876.
VUILLAUME, Claude Francois, born 1807.
VUILLAUME, Sebastien, Paris, nephew of J. B. Vuillaume, made a few
excellent instruments. He died in the same year, 1875.
SECTION IX
The German School
There is no trace of any German Violins of the time of Gasparo da
Salo, or Maggini. 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 the Tyrolese 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, Viols, and Guitars 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'Amore, richly inlaid with mother-of-pearl, ivory, and
tortoiseshell, made at this period, evidence the high state of the
art.
To Jacob Stainer is due the credit, to a great extent, of changing the
system of modelling 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 as Violin makers. There
remained, after all Stainer's changes, the 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
engender an improved style throughout the Violin manufacture of
Germany. The exceptional merits of this famous German artist were soon
recognised, 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 the world has seen (had they been
as good as they were numerous, what stores of prized Violins would
have been bequeathed to us!); Reiss, of Bamberg; Rauch, of Breslau;
and Leopold Widhalm, of Nuremberg, who was one of Stainer's best
imitators; 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 attempting to be original. Niccolo Amati was
the maker whom these men chiefly copied, and most successfully did
they perform their task. These copies, however, did not meet the
success to which they were entitled, and the popularity of Stainer's
mode was then so great that the instruments made upon systems other
than his found no favour in the Fatherland. The makers who were
copyists of the Italian masters were Ruppert, Bachmann, Jauch, and
Eberle of Prague.
When we consider the long list 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 Jacob
Stainer and Mathias Albani be excepted, the list is singularly
destitute of makers famous for originality. The Germans were certainly
great in the manufacture of the older 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 anything approaching a
complete list of German makers, their number 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.
SECTION X
German Makers
ALBANI, Mathias, Botzen. M. Fetis, quoting the Biographical Dictionary
of Moritz Berman, with regard to Albani, states that he was born in
1621, and died in 1673. The form is somewhat like Stainer's, but
higher and heavier in construction. The varnish is very rich. Wood of
good quality.
ALBANI, Mathias, Botzen, about 1650-1712.
Mathias Albani Fecit
Bulsani Tyrol 1651.
Matthias Albanus Fecit
Bulsani in Tyroli 1680.
Son of the above. This maker should, perhaps, have been classed with
those of Italy, his style being 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 son has
shown but faint marks of having been tutored by his parent in the art
of Violin-making. He is said to have visited Cremona, in order to
receive instruction there under Amati, and this circumstance may have
given to his work that Italian air which is so pleasing to the
connoisseur.[1] 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. Gerber states that the famous Violinist, Tomaso Albinoni,
possessed two Violins of this maker, dated 1702 and 1709.
[Footnote 1: He appears to have worked for a time in Rome, from which
city some instruments are dated.]
ALBANI, Paolo, Palermo, about 1633. Probably related to the Albanis of
Botzen. _See_ Italian makers.
ALETZIE, Paolo, Munich. _See_ Italian makers.
Paulus Aletzee hof
Lauten und Geigenmacher
in Munchen 1710.
ARTMANN, ----, Weimar, near Gotha, 18th century. Was originally a
joiner. Copied Amati very cleverly. The varnish is frequently of amber
colour.
BACHMANN, Carl Ludwig, born at Berlin, 1716. Court musician and
Violin-maker. The work is clean, and not without style. Bachmann was a
performer on the Viol. In 1765 he was appointed instrument maker to
the court of Frederick the Great. Bachmann, in conjunction with Ernest
Benda, founded in 1770 the concerts for amateurs at Berlin. He died in
1800.
BACHMANN, O., Halberstadt, Violin-maker, and author of a handbook on
the construction of bow instruments, published in 1835 at Leipsic.
BAUSCH, Ludwig C. A., Leipsic, born at Nuremberg in 1815. Pupil of B.
Fritsche in Dresden.
BAUSCH, Ludwig B. Son of the above.
BAUSCH, Otto B., Leipsic, born 1841, brother of the above.
BECKMANN, Sweno, Stockholm, about 1700. The work is rough.
BEDLER, ----, about 1750.
BELA, Szepessy, born at Budapest in 1856. Now living in London.
BINDERNAGEL, ----, Gotha, 18th century. Copied Amati chiefly. There
are a few of his instruments which are on the model of Stradivari, and
are highly valued in Germany.
BUCHSTADTER, Gabriel David, Ratisbon, 18th century. His Violins are
not equal in merit. 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.
CHRISTA, Joseph Paul, Munich, 1730.
Josephus Paulus Christa, Lauten
und Geigenmacher in Munchen. 17--
DIEL, Martin (spelt Diehl by later members of the family), Mayence,
worked with Nicolaus Dopfer, and later with Carl Helmer of Prague. He
was a son-in-law of Dopfer.
DIEL, Nicolaus, born 1779, son of Martin, worked with his uncle Jacob
Steininger of Frankfort. He succeeded to the business of his father.
Died 1851.
DIEL, Johann, brother of Nicolaus.
DIEL, Jacob, son of Nicolaus, settled in Bremen 1834, later in
Hamburg. Died 1873.
DIEHL, Nicolaus Louis, Hamburg, son of Jacob Diehl, died 1876.
DIEHL, Friedrich, Darmstadt, born 1814, son of Nicolaus, received a
bronze medal, Paris Exhibition, 1867.
DIEHL, Johann, Mayence.
DIEHL, Heinrich, son of Johann.
DOPFER, Nicolaus, 1768. The instruments of this maker are well made;
the model is less raised than that of many German makers. He made a
few large Tenors. Dopfer was the master of Martin Diehl.
DURFEL, J. G., Altenburg, 18th century. A well-known maker of
Double-Basses.
EBERLE, J. Ulric, Prague, about 1730-50. Was a good copyist of the
Italian masters. Eberle also made Viols d'Amour.
Joannes Udalricus Eberle,
Lautenmacher in Prag, 1730.
EDLINGER, T., Prague, about 1712.
EDLINGER, Joseph Joachim, Prague. Son of the above. Worked for some
time in Italy. Died 1748.
ELSLER, Johann Joseph, Mayence, 1720-50. Made many good Viols da
Gamba.
ERNST, Franz Anton, born in 1745 in Bohemia, died in 1805. He was an
eminent Violinist, and received lessons from Antonio Lolli. In 1778 he
was engaged as Court musician at Gotha. He took great interest in
Violin-making, and made several excellent instruments.
FELDEN, M., Vienna, about 1550. Maker of Viols.
FICHTOLD, Hans, about 1612. Lute-maker.
FICHTL, Martin, Vienna, 1757. Large pattern, good varnish, wood of
excellent quality.
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, Johann Gotlieb, Cremona, 1789.
FISCHER, Zacharie, Wurtzburg, 1730. This maker adopted the practice of
baking the wood for the manufacture of Violins.
FISCHER, Anton, Vienna, died 1879.
FREY, Hans, Nuremberg and Bologna, born about 1440. A celebrated maker
of Lutes. He was the father-in-law of Albert Durer. John Evelyn, in
his Diary, 1645, after speaking in praise of the cheese and sausages
of Bologna, refers to the great celebrity of the Lutes by the old
makers of that city, and mentions Hans Frey. He says they "were of
extraordinary price, and the workmen were chiefly Germans."
FRITZCHE, ----, Leipsic, about 1780-1810.
GEDLER, Johann A., Fussen, about 1750.
GEDLER, Johann B., Fussen, about 1780.
GEISSENHOF, Franz, Vienna, died 1821. The initials F. G. sometimes
branded on the button. Stradivari model. Good work.
GERLE, Johann, Nuremberg, 1533 to about 1550. Maker of Lutes and
Viols. He also published a book on the Lute, 1533.
GRIESSER, Matthias, Innspruck, 1727.
GRIMM, Carl, Berlin, born about 1794. He died at Berlin, 1855, and was
succeeded by a son, Ludwig Grimm.
GROBITZ, A., Warsaw, about 1750.
GUGEMMOS, Fussen, Bavaria, 17--. Indifferent work.
HAENSEL, Johann A., Berlin. Contributed an article to the "Leipsic
Musical Gazette" in 1811, entitled "Ueber den Bau der Violin."
HAMBERGER, Joseph, Presburg, 1845.
HAMM, Johann Gottfried, Rome, 18th century. Made instruments of a wide
pattern, often with ivory edges, and branded inside with his initials.
HAMMIG, W. H., Leipsic. Now living.
HASSERT, ----, Eisenach, 18th century.
HASSERT, ----, Rudolstadt, 18th century.
HELMER, Carl, Prague, born 1740. Pupil of Eberle of Prague.
HILDEBRANDT, Michael C., Hamburg, 1770.
HILTZ, Paul, Nuremberg, 1656. Maker of Viols.
HOFFMANN, Martin, Leipsic, about 1680 to 1725. Maker of Lutes and
Viols.
HOFFMANN, Johann Christian, Leipsic, about 1720. Son of Martin
Hoffmann. Lute and Viol maker.
HORNSTAINER, Joseph, Mittenwald, about 1730. Made a few Double-Basses
of good quality.
HORNSTAINER, Matthias, Mittenwald, about 1800.
HORIL, Jacob, Rome, about 1742.
HULLER, August, Shoeneck, about 1775.
HUMEL, Christian, Nuremberg, about 1709.
HUNGER, Christoph Friedrich, Leipsic, born at Dresden, 1718, died
1787. One of the best German makers.
JAIS, Johann, Botzen, about 1776. There were other makers of this
name.
JAUCH, Johann, Gratz, Styria, Austria. Worked in Dresden about 1774.
KARB, ----, Konigsberg, Maker of Viols.
KAMBL, Johann A., Munich, 1640.
Johan Andreas Kambl Churfurstl.
Hof Lauten und Geigenmacher
in Munchen.
KEMBTER, ----, Dibingen, about 1730. Stainer model. Good wood, and
work well purfled.
KIAPOSSE, Sawes, St. Petersburg, 1750.
KIRCHSCHLAG, ----, Tyrol, 1780.
KLOZ, Matthias, Mittenwald, 1656-1743. Is reported to have been a
pupil of Stainer. The work is good and the varnish in some cases of a
mellow quality, in others somewhat thin. Some of the wood that he used
was cut at the wrong season, and is consequently worm-eaten.
KLOZ, Sebastian, Mittenwald, 1696-1750, son of Matthias Kloz.
Sebastian Kloz, in
Mittenwald, An 17--
The instruments of this maker are much esteemed. The model is flat as
compared with most Violins of the German school. The varnish varies.
KLOZ, George, Tyrol, 1687-1737, brother of Sebastian Kloz. Instruments
well made, chiefly yellow in colour; wood often worm-eaten.
KLOZ, Egidius, Mittenwald, 1675-1711.
KLOZ, AEgidius, Mittenwald, 1733-1805. Son of Sebastian. One of the
best of this very large family of makers.
KLOZ, Joseph, Mittenwald, son of Egidius.
KLOZ, J. Karl, about 1741. Good work, dark varnish, ornamental border
round label.
KNITTLE, Joseph, Mittenwald.
KNITTING, Philip, Mittenwald, 1760.
KOHL, Johann, Munich, 1580. Lute-maker to the Bavarian Court.
KOLDITZ, J., Rumburg, died 1796.
[Illustration: _Plate XV_. CHAPEL OF THE ROSARY. CHURCH OF ST.
DOMENICO, CREMONA.]
KOLDITZ, Mathias Johann, Munich, 1720.
Mathias Joannes Koldjz,
Lauten und Geigenmacher in
Munchen 17--
KRAMER, H., 1717, Viol-maker.
KRINER, Joseph, Mittenwald, 1786.
LASKA, Joseph, Prague, born at Rumburg, 1738, died 1805. Worked with
J. Kolditz.
LEMBOCK, Gabriel, Budapest, 19th century. Maker; also known as a
repairer of old instruments.
MANN, Hans, Naples.
MAUSSIELL, Leonard, Nuremberg, 1745. Stainer pattern, excellent
workmanship. Thin yellow varnish, raised edges. The style and work is
not unlike that of Tecchler.
MAHER (MAIER), Andreas Ferdinand. Good varnish, sometimes with lion
scrolls.
Andreas Ferdinandus Mahr,
Hof Laut und Geigenmacher
in Salzburg. Anno 17--
MEUSIDLER, Johann, Nuremberg, about 1550. Maker of Viols.
MOHR, Philip, Hamburg, 17th century. Viol-maker.
MOLDONNER, Fussen, Bavaria, 18th century.
NIGGEL, Simpertus, Fussen, 17--. Flat model, good workmanship. Branded
inside with initials S. N.
OHBERG, Johann, Stockholm, 1773. Workmanship of average merit. Varnish
mostly of yellow colour.
OTT, Johann, Nuremberg, about 1463. Lute-maker.
OTTO, Jacob August, born at Gotha, 1762, died 1830. Violin-maker to
the Court of Weimar. Received instructions from Franz Anton Ernest. He
published a work in 1817 entitled, "Ueber den Bau und die Erhaltung
der Geige und aller Bogeninstrumente," and another work with more
information in 1828, the first English edition of which was published
in 1848.
OTTO, Georg August, son of Jacob August, born 1807, died 1859.
Succeeded to the business of his father at Jena.
OTTO, Christian, Halle, second son of Jacob August. Born 1813, died
1876.
OTTO, Heinrich, Berlin, third son of Jacob August. Born 1815, died
1858.
OTTO, Carl, Ludwigslust, fourth son of Jacob August. Born 1825.
Violin-maker to the Court of Mecklenburg. Died in 1883.
OTTO, C. U. F., Stockholm, fifth son of Jacob August. Died 1884.
OTTO, Ludwig, St. Petersburg, son of Georg August. Born at Cologne;
died 1887.
OTTO, Louis, Dusseldorf, son of Carl, now living.
OTTO, Hermann, St. Petersburg, son of Ludwig. Died 1884.
PARTH, Andreas Nicholas, Vienna, 18th century.
PFRETZSCHNER, Johann Gottlob, Cremona, 1750. Very commonplace.
PFRETZSCHNER, Carl Friedrich, Cremona, son of the preceding; no merit.
PLACK, F., Schoenbock, 1730-45.
POSSEN, L., Schoengau, Bavaria, about 1553. Maker of Viols and Lutes.
RAUCH, ----, Wurtzburg.
RAUCH, Jacob, Manheim, 1720-50. Brother of the above. Court
Violin-maker.
RAUCH, Sebastian, Hamburg, 1725. High model, rough workmanship. A
maker of this name is said to have worked at Leitmeritz, Bohemia,
about 1750. Possibly the same.
RAUCH, ----, Breslau, about 1750.
REICHEL, Johann Gottfried, Absam, 18th century.
REICHEL, Johann Conrad, Neukirchen, 18th century.
REICHERS, August, Berlin, 19th century. Pupil of Bausch of Leipsic.
RIESS, ----, Bamberg, about 1750.
ROSCHER, C. H. W., Bremen, about 1871.
ROTH, Christian, Augsburg, 17th century.
RUPPERT, Franz, Erfurt, 18th century.
RUPPERT, J. N., Erfurt, 1719-28.
SAINPRAE, Jacques, Berlin, 17th century. A Baryton Viol of this maker
is among the musical instruments at the Kensington Museum. It is said
to have belonged to Johann Quantz, the famous flute-player.[2] The
Baryton was a favourite instrument with Haydn. He composed several
pieces for the instrument, and was fond of playing it. The Baryton, or
Viol di Bordone, is of the character of the Viole d'Amour, being
strung with sympathetic metal strings. It is, however, a large and
more complicated instrument.
[Footnote 2: The flute-playing of Johann Joachim Quantz in 1728 gave
so much pleasure to the Crown Prince of Prussia, afterwards Frederick
the Great, that he decided to take lessons from Quantz, who was then
in the service of Augustus, Elector of Saxony and King of Poland.
Quantz was stationed alternately in Dresden and Warsaw. He became a
member of the orchestra of Augustus in 1718, when Jean Baptiste
Volumier was its director, of whom mention has been made (page 208)
relative to his having been sent to Cremona in 1715 to await the
completion of twelve Violins ordered of Stradivari.]
SAWICKI, C. N., Vienna, 1792-1850.
SCHEINLEIN, Mathias F., 1710-71. High built; dark varnish.
SCHEINLEIN, Johann Michael, Langenfeld, son of the above. Similar
characteristics.
SCHELL, Sebastian, Nuremberg, 1727. Lute-maker.
SCHLICK, ----, Leipsic.
SCHMIDT, ----, Cassel, 1800-25. Copied Stradivari indifferently; wood
of an inferior kind.
SCHONFELDER, Johann A., Neukirchen, about 1743.
SCHONGER, Franz, Erfurt, 18th century.
SCHONGER, Georg, Erfurt, son of the above.
SCHORN, Johann, Innspruck, about 1680. An excellent maker; the varnish
is similar to that of Albani; high modelled. He appears to have
removed to Salzburg. There are Viols of his make dated from there in
1696 and 1699.
SCHORN, Johann Paul, Salzburg, about 1700-16. Court instrument-maker.
SCHOTT, Martin, Prague. Chiefly known as a maker of Lutes.
SCHWARTZ, Strasbourg, about 1845. Several of this name worked in
Strasbourg.
SCHWEITZER, J. B., Budapest, died 1875. Flat model, neat workmanship.
Made a few Tenors.
STADELMANN, Daniel, Vienna, 1680-1744. Good work, model of Jacob
Stainer. Thin varnish, sometimes yellow colour.
STADELMANN, Johann Joseph, Vienna, 18th century. Copied Stainer;
average merit.
STAINER, Jacob, Absam, born July 14, 1621, at Hall.
Jacobus Stainer in Absam
prope Oenipontum. 16--
The celebrity of this maker is second only to that of the great
Cremonese artists. His admirers in Germany and England were, at one
time, more numerous than those of the principal Italian makers. In a
manuscript note which Sir John Hawkins added to his own copy of his
History of Music (1776), he says, "The Violins of Cremona are exceeded
only by those of Stainer, a German, whose instruments are remarkable
for a full and piercing tone." To the connoisseur of to-day such
commendation may seem inexplicable, and cause him to believe that
Fiddle admirers of past times 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 was a man of rare abilities, because it is indelibly written on
his chief works that he was a thorough artist. Therefore an expression
of surprise that Jacob Stainer has been estimated higher than even
Stradivari by the Germans and English, must not be understood as a
reflection on his abilities, since it refers to the form that he chose
to give to his works. To account for the apparent inconsistency in the
works of Stainer, and to strike the balance between his exceptional
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
Stradivari--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. Jacob 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 scooping round
the sides of the backs and bellies, the inelegant sound-hole, the
harsh outline, and uncouth scroll. As experience ripened his
understanding, he may have felt that these characteristics of the
German School were not such as could be moulded with advantage by an
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 works
of the Italian masters. It has been stated that he went to Italy 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 place. 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 its
origin. That men of less ability should be unable to entirely sever
themselves from their national style of work, even under circumstances
most favourable for such a release, I can readily understand; it is an
incapacity which has been exemplified over and over again; but Jacob
Stainer was not one of these ordinary men; he had not his superior in
the school of Cremona as a finished workman, with the single exception
of Antonio Stradivari. I believe, therefore, that the German style was
deeply rooted within him when he ceased to be young, and that if he
went to Cremona or Venice, it was not until he recognised the
inferiority of the school in which he had been bred, as compared with
that of Cremona or Venice. 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 he became acquainted with much of the best work of the Italians
is evidenced by his improved style. The varnish he used furnishes even
stronger evidence of his having possessed a knowledge of the subject
equal to that of the Cremonese makers. Whether he acquired this
knowledge in Cremona or Venice cannot be stated with certainty, but I
am inclined to believe that he gained it in the first-named city. Who
but an artist acquainted with the best work of Italy in Violin-making
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 results
of the artist's manipulations. Had such skill been exercised on a form
nearer akin to the Italian, the result would have been perfect.
Prior to the publication of the interesting facts obtained by Herr S.
Ruf, relative to the personal history of Jacob Stainer, we had no
really reliable account of this famous maker.[3] The industry and
research of Herr Ruf has not only supplied all the ascertainable facts
with regard to Stainer, but also served to trace the history of
Stainer fiction. The last-mentioned portion of Herr Ruf's labours is
singularly instructive as to the manner in which romance is spliced on
to what is intended to be sober history, and which results oftentimes
in the graft being rendered invisible, or even unsuspected. He tells
us that the first mention of Jacob Stainer is that made by Johann
Primisser, about a century after the death of the Violin-maker, and
that he merely states that there lived in Absam in 1673 a celebrated
maker named Stainer.
[Footnote 3: The notice of Jacob Stainer in the "Biographie
Universelle des Musiciens" contains information supplied by J. B.
Cartier, the well-known Violinist, which formed a portion of the
history of the Violin which Cartier proposed publishing, also from
notes made by Paul L. de Boisgelou, who brought together much curious
information relative to music and musicians.]
Early in the present century Counsellor Von Sardagna collected certain
particulars concerning Stainer, which were published in 1822. He
states that Stainer lived at Absam, that it is traditionally reported
that he went to Venice or Cremona, and died a madman. It appears that
this slight material was at once utilised for the manufacture of
nearly all the romantic accounts of Stainer with which we are
familiar. Herr Ruf says that in the year 1825 there appeared in a
German literary publication a poetical effusion entitled "Jacob
Stainer," and that in 1829 Dr. Johann Schuler published a novel of
great merit on the same subject.
Herr Ruf states that August Lewald in 1835 made the novel of Dr.
Schuler the basis of the romantic account of Stainer, published in his
"Guide Book to Tyrol," under the title of "An Evening in Absam," but
without any acknowledgment whatever. Notwithstanding the growth of
Stainer literature down to 1835, not a single historical fact
concerning the maker had been brought to light. In the year 1839 Herr
Ruf began his labours of research. He discovered at Hall a register of
the parish of Absam, wherein he found all the information we possess
as regards the birth and death of Stainer and his family. About this
period the poem of Dr. Johann Schuler, "Jacob Stainer," was dramatised
by Theodore Rabenalt. Other poems based on the same material appeared
in 1843, but still the facts of Stainer's life were all but unknown.
At length Herr Ruf was prevailed upon by Dr. Schafhault (an ardent
admirer and collector of Stainer's Violins) to prosecute his inquiries
concerning the great maker.
In the archives of the town and salt mines at Hall, Herr Ruf found
much information, which he published in the local newspapers, the
ephemeral nature of which naturally placed his valuable contributions
beyond the reach of those likely to value them. In the meantime
Nicolaus Diehl, of Hamburg, published a little book on Violins, into
which was imported a portion of the romance traceable to the novels or
poems on Stainer. Herr Ruf, feeling disappointed that his labours in
discovering the facts relative to Stainer had failed to clear away the
cloud of Stainer fiction, published in 1872 his book, "Der
Geigenmacher Jacob Stainer von Absam in Tirol," which gives us a full
account of his researches, and should have secured to him the full
credit due to his industry. His facts, however, like the good fiction
found in Dr. Schuler's novel, "Jacob Stainer," have been used by
German writers on the subject of the Violin without any
acknowledgment. Herr Ruf died at Hall in the year 1877.
It is said that Stainer was apprenticed to an organ-builder at
Innsbruck, but owing to his weak constitution he was unable to
continue in the business, and chose instead the trade of
Violin-making. Amongst the rumours concerning this maker may be
mentioned that of his having been a pupil of Niccolo Amati. 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 neither by the Brothers Amati nor Niccolo 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.
The marriage of Stainer took place October 7, 1645. On the 9th of
October, 1658, he was appointed by the Archduke Leopold (of Austria,
Governor of Tyrol) one of the "archducal servants," and on the 9th of
January, 1669, he obtained from the Emperor the title of "Violin-maker
to the Court." About this period he is said to have incurred the
displeasure of the Jesuits, which led to his being accused of the
crime of heresy. The accusation seems to have been based on the fact
of books of a controversial kind--chiefly Lutheran--having been found
in his possession. The penalty he suffered for daring to indulge in
polemical literature was six months' imprisonment, and his future
prospects were completely shattered. Prior to this misfortune he
appears to have been in pecuniary difficulties, and frequently at law
with one Salomon Hubmer, of Kirzchdorf, from whom he had obtained
money loans. In the year 1677 he petitioned the Emperor Leopold--who
was a great patron and lover of music--to render him pecuniary
assistance, but failed to procure it. Over-burdened with troubles, he
was bereft of his reason, and died insane and insolvent in the year
1683.
"Alas! misfortunes travel in a train,
And oft in life form one perpetual chain."
His widow was left with a family of eight daughters, she dying in
poverty in 1689, which chronological fact disposes of the fiction, so
widely circulated, that in consequence of the great grief he
experienced upon the death of his wife he withdrew from the world, and
became an inmate of a Benedictine monastery, and that he made within
its walls the famous instruments known as "Elector Stainers," which he
presented to the 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 followers 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 instruments 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 resemblance
whatever to those of Stainer are accepted by the multitude as original
Jacob 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.
STAINER, Markus, Kufstein, Tyrol, about 1659, described as a brother
of Jacob. He styled himself on his label "Citizen and Violin-maker."
Citizenship carried with it special privileges, and this maker
apparently recognised the honour by having "Burger" after his name.
STAINER, Andreas, Absam, about 1660. Mention is made of a maker of
Baryton Viols of this name.
STAUGTINGER, Mathias W., Wurzburg, about 1671. Maker of Viols and
Lutes.
STEININGER, Jacob, Frankfort, about 1775. Son-in-law of the
Violin-maker Dopfer, and uncle of Nicolas Diehl, to whom he gave
instructions in Violin-making.
STEININGER, Franz, St. Petersburg, son of Jacob Steininger.
STOSS, ----. Makers of this name worked at Prague, Vienna, and Fussen,
about the end of the 18th century.
STOSS, Martin, Vienna, about 1824. Flat model, good workmanship.
Stradivari pattern, indifferent varnish.
STRAUBE, ----, Berlin, about 1775.
STRAUSS, Joseph, Neustadt, about 1750.
TIEFFENBRUCKER. There appear to have been several Lute-makers of this
name working in the 16th century in Germany and elsewhere. No genuine
Violins are known. _See_ DUIFFOPRUGCAR.
TIELKE, Joachim, Hamburg, about 1539-92. The name of Tielke is
associated with the most remarkable instruments of the Lute and Guitar
kind ever produced in relation to rich and chaste ornamentation. It is
said there are glowing accounts in old German books of the magnificent
instruments by Tielke, with elaborate designs in silver, gold, and
jewels.[4] The ornamentation and workmanship seen in the best
instruments of this maker bear the impress of Italian art of a high
order, and evidence the employment of Italian draughtsmen by the house
of Tielke. In the collection of instruments at Kensington is a
Chiterna (an instrument of the Lute kind) of this make. The body is
ornamented with tortoiseshell, with mythological figures in ivory and
precious stones. It is signed, and dated 1539. In the possession of
Mr. George Donaldson is a Guitar of this maker, signed, and dated
1592, which is considered to be the most artistic and highly
ornamented work known by Joachim Tielke. It is wonderfully preserved,
and admirably shows the style and character of the art-work of the
period.
[Footnote 4: Engel's "Descriptive Catalogue of the Musical Instruments
in Kensington Museum," 1874.]
TIELKE, Joachim, Hamburg, about 1660-86. Viol and Violin maker. The
dates met with on the instruments signed "Tielke" cover a period of
upwards of a century and a half, and thus evidence the existence of
the house, in connection with the manufacture of musical instruments,
through two or more generations. There is, of this maker, a Viola di
Bordone in the collection at Kensington, dated 1686. Mention is made
by Fetis of a Violin dated 1670, which was in the possession of Andre
of Offenbach; and a Chiterna dated 1676, similar to that in the
Kensington collection, is owned by Mr. George Donaldson. M. Chouquet,
in his catalogue of the collection of instruments at the
Conservatoire, Paris, refers to a Lute (No. 136) by Tielke.
VOEL, E., Mayence, about 1840. Excellent workmanship, scroll well cut.
Stradivari model. The character of work is not unlike that of Bernard
Fendt.
VOGEL, Wolfgang, Nuremberg, 1650.
[Illustration: _Plate XVI_. ANTONIO STRADIVARI. Date 1708. (HECTOR
HAVEMEYER, ESQ.) ANTONIO STRADIVARI. Date 1736. GIUSEPPE GUARNERI DEL
GESU. Date 1735. (G. HART.)]
VOGLER, Johann Georg, Wurzburg, about 1750.
Johann Georg Vogler, Lauten
und Geigenmacher in Wurzburg. 17--
VOIGT, Martin, Hamburg, about 1726.[5]
[Footnote 5: About thirty makers named Voigt or Voight hail from
Germany, some contemporary and others dating from the 18th and 19th
centuries. Their work is not of sufficient importance to require
special notice.--EDITORS.]
WAGNER, Joseph, 1730, Constance.
WEICKERT, Halle, 1800.
WEIGERT, ----, Lintz, about 1721. Maker of Viols.
WEISS, Jacob, Salzburg, 18th century.
Jacob Weiss, Lauten und
Geigenmacher in Salzburg.
WENGER, G. F., Salzburg, 18th century.
WIDHALM, Leopold, Nuremburg, 18th century.
Leopold Widhalm Lauten und
Geigenmacher, Nurnberg Fecit, A.
One of the best imitators of Stainer. The wood is frequently handsome,
the work finished with care. Varnish, although wanting the delicacy of
that of Stainer, is generally of good quality; its colour is mostly
pale red. Nearly all his instruments are branded with the initials
inside. His name has frequently been spelt Withalm.
WITTING, J. G., Mittenwald, about 1775.
WYEMANN, Cornelius, Amsterdam, 18th century.
ZWERGER, Antoni, Mittenwald, about 1750. Neat work, good wood, varnish
of the character of that seen on the instruments of Kloz.
SECTION XI
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 the work of Fetis, "Antoine
Stradivari," 1856, although numerous very inferior German and Italian
makers are quoted. The same omission is also conspicuous in
"Luthomonographie Historique et Raisonne," 1856, and Otto's "Ueber den
Bau der Bogeninstrumente," &c., 1828. 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 the early nineteenth century 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 men of no
ordinary genius--men who worked lovingly, guided by motives distinct
from commercial gain, so 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 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
manufacturers, the result was not so much that their ardour was
damped, as that they themselves were extinguished, and served as
another 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, there being always a small body of patrons who
are willing to check the tendency to deteriorate, common to all
productions, by encouraging the worker with extra remuneration, in
order that a high degree of excellence 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, it is everywhere much the same. In Italy
there is no Stradivari in embryo, in France no coming Lupot, in
Germany no Jacob 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 a fault in the _supply_, a
foolish desire on the part of the makers to give maturity to their
instruments, wherein they always completely fail, yet they will not
give up their conceit. Here, again, were we dealing with matters of
greater magnitude, the evil influence 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
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 patronise 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 or Saxon copy fulfils at present. As with other
things, so is it also with Violins; if they are to be produced with
the stamp of artistic merit, they must be paid for accordingly;
without patronage the worker necessarily becomes 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 considerable. Had it been otherwise, the powers of its
Raffaele, its Cellini, and last (though not least to the admirers of
the Violin), its Stradivari, would have remained simply dormant. Art,
like commerce, is regulated in a great measure by supply and demand.
In Raffaele's day, sacred subjects were in demand; the Church was his
great patron, and 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
taste 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 constrained to pander to the prevailing tastes.
As further evidence of the effect of patronage on art, a case in point
is found in the manufacture 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 recent years the art of making glass has shown
signs, even in Venice itself, of reviving with all its former vigour
in the workshops 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 patronage 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, 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 between
these classes of instruments. In the few Violins extant by Christopher
Wise the Italian character 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
reputation--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 improvement 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 intercourse with Italy or the German Tyrol. Starting
with Rayman, 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 there is 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, but is
evidently 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 productions 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 Maggini type. Barak Norman frequently
double-purfled his instruments, 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 Jacob Stainer and the Amati, 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 devoted all his energies to successful imitation. Too
much praise cannot 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, Betts, 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 the 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 indicate the distinctive character of their
respective works.
SECTION XII
English Makers
ABSAM, Thomas, Wakefield, 1833.
Made by
Thomas Absam,
Wakefield, Feb. 14,
1833.
ADAMS, Garmouth, Scotland, 1800.
ADDISON, William, London, 1670.
AIRETON, Edmund. Was originally employed in the workshop of Peter
Wamsley, at the "Harp and Hautboy," in Piccadilly. He made a great
many excellent Violins and Violoncellos, and chiefly copied Amati.
Varnish of fair quality; colour yellow. He died at the advanced age of
80, in the year 1807.
ALDRED, ----, about 1560. Maker of Viols.
ASKEY, Samuel, London, about 1825.
BAINES, about 1780.
BAKER, ----, Oxford. Mention is made of a Viol of this maker in the
catalogue of the music and instruments of Tom Britton, the small-coal
man.
BALLANTINE, Edinburgh and Glasgow, 1850.
BANKS, Benjamin, Salisbury, born 1727, died 1795.
Benjamin Banks,
Musical Instrument Maker
In Catherine Street, Salisbury.
1780.
To this famous maker must be given the foremost place in the English
School. He was a thorough artist, and would not have been thought
lightly of had he worked in Cremona's school, and been judged by its
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 Banks's instruments, and he will confess that I have merely
recorded a _fact_.
Banks is, again, one of the 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 instruments!
No clue whatever remains by which we could arrive at a satisfactory
conclusion on this point. That he was an enthusiast in his art is
certain, and also that he was aware to some 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 branding 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 shown a preference for the model of Niccolo
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; but these makers chiefly 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 are 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.
Fortunately, sufficient wood has been left in his instruments 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 who has failed in head-cutting. He made Violins,
Tenors, and Violoncellos, all excellent; but the last-named 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 at Salisbury,
afterwards removed to London, and lived at 30, Sherrard Street, Golden
Square.
BANKS, James.
James and Henry Banks,
Musical Instrument Makers
and Music Sellers,
18 Salisbury. 02
Brother of the above. For some years carried on the business of his
father at Salisbury, in conjunction with his brother Henry. They
ultimately sold the business and removed to Liverpool. The instruments
of James and Henry Banks are of average merit.
BARNES, Robert, 1710. Worked with Thomas Smith at the "Harp and
Hautboy" in Piccadilly. Afterwards partner with John Norris.
BARRETT, John, 1714.
John Barrett, at the Harp and
Crown in Pickadilly, 17--
Made by John Barrett at ye Harp &
Crown in Pickadilly, London, 17--
An average workman, who followed the model of Stainer. His shop bore
the sign of the "Harp and 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 wood is generally of a very good
quality, the varnish yellow.
BARTON, George, Old Bailey, London, about 1780-1810.
BETTS, John, born 1755, at Stamford, Lincolnshire, died in 1823.
Jo. Betts, No. 2,
near Northgate the
Royal Exchange,
London, 17--
Became a pupil of Richard Duke. He commenced business in one of the
shops of the Royal Exchange, where he soon enjoyed considerable
patronage. John Betts does not appear to have made a great number of
instruments, but employed many workmen, into whose instruments he
inserted his trade label. He was, perhaps, the earliest London dealer
in Italian instruments. His quaintly-worded business card runs:--
"John Betts, Real Musical Instrument Maker, at the Violin and German
Flute, No. 2, under the North Piazza of the Royal Exchange, makes in
the neatest manner, Violins the patterns of Antonius Stradivarius,
Hieronymus Amati, Jacobus Stainer, and Tyrols. Equal for the fine,
full, mellow tone to those made in Cremona. Tenors, Violoncellos,
Pentachords, &c., &c., &c."
The sound-holes of Betts' instruments are rather wide; broad purfling;
scroll well cut.
BETTS, Edward, nephew of John Betts; was a pupil of Richard Duke,
whose work he copied 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
description; 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
undisguised work as can be readily found. They will be yearly more
valued.
[Illustration: _Plate XVII_. THE "BETTS" STRADIVARI. 1704. (R. D.
WADDELL, ESQ.)]
BOLLES, ----, An early maker of Lutes and Viols.
BOOTH, William, 1779 to about 1858, Leeds.
BOOTH, ----, son of the above, Leeds, died 1856.
BOUCHER, ----, London, 1764.
BROWN, James, London, born 1770, died 1834. Worked with Thomas
Kennedy.
BROWN, James, London, son of the above, born 1786, died 1860.
BROWNE, John, London, about 1743. Worked at the sign of the "Black
Lion," Cornhill. Good work. Amati pattern. Scroll well cut; hard
varnish.
CAHUSAC, ----, London, 1788. Associated with the sons of Banks.
CARTER, John, London, 1789, worked with John Betts, and afterwards at
Drury Lane on his own account.
CHALLONER, Thomas, London. Similar to Wamsley.
COLE, Thomas, London, 1690.
Thomas Cole, near Fetter Lane
In Holborn, 16--
COLE, James, Manchester, 19th century.
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, 19th century.
CRASK, George, Manchester. He made a large number of instruments,
chiefly imitations.
CROSS, Nathaniel, London, about 1700-50. Worked with Barak Norman. He
made several good Violins. Purfling narrow; excellent scroll.
CROWTHER, John, 1760-1810.
CUTHBERT, London, 17th 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.
DELANY, John, Dublin. Used two kinds of labels, one of them very
small--
Made by John Delany,
No. 17, Britain Street, Dublin. 1808.
In the other, which is larger, he states that he made Violins that his
name might be of immortal memory.
Made by John Delany,
In order to perpetuate his memory in future ages.
Dublin. 1808.
Liberty to all the world
black and white.
DENNIS, Jesse, London, 1805.
DEVEREUX, John, Melbourne. When in England he worked with B. Simon
Fendt.
DICKINSON, 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, 1750-80, a native of Stirling. He would seem to have
lived in 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, about 1700. Mention is made of an instrument by this
maker in Tom Britton's Catalogue.
DODD, Thomas, son of Edward Dodd, of Sheffield.
T. Dodd,
Violin, Violoncello
and Bow Maker,
New Street,
Covent Garden.
He was not a maker of Violins. Numerous instruments bear his name, but
they are the work of John Lott and Bernard Fendt. The merit of these
instruments is of the highest order, and they are justly appreciated
by both player and connoisseur. Thomas Dodd 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 preparing the original
Cremona varnish. Instruments improved and repaired." This undoubtedly
savours of presumption, and is certainly wide of the truth.
Nevertheless there is ample 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 admitted 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 pounds 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 receiving
the instruments in that incomplete stage known in the trade as "in the
white," _i.e._, without varnish. He would then carefully 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, although not a maker of Violins,
possessed excellent judgment, both as regards work and makers, which
enabled his son to profit considerably during his early years whilst
working with Fendt and Lott.
DORANT, William, London, 1814.
DUKE, Richard, worked from 1750-80.
Richd. Duke,
Londoni fecit 17--
Richard Duke, Maker,
Holborn, London. Ann. 17--
The name of this maker has long been a household word with English
Violinists both amateur and professional. Who has not got a friend who
is the fortunate owner of a veritable "Duke"? The fame of His Majesty
Antonio Stradivari himself is not greater than that of Richard Duke in
the eyes of many a Fiddle fancier. From his earliest fiddling days the
name of Duke became familiar to him; he has heard more of him than of
Stradivari, whom he somehow confuses with Cremona. He fondly imagines
that Cremona was a celebrated _maker_, and Stradivari something else;
inquires, and becomes more confused, and returns again to "Duke," with
whom he is thoroughly at home.
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 persistently 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 description. The copies
of Stainer were not so successful.
DUKE, Richard, London. Son of the above.
DUNCAN, ----, Aberdeen, 1762.
DUNCAN, George, Glasgow, contemporary.
EGLINGTON, ----, London, 1800.
EVANS, Richard, London, 1750. His label is a curiosity--
Maid in the Paris of
Lanirhengel, by Richard
Evans, Instrument maker,
in the year 17--
FENDT, Bernard, born at Innsbruck, in the Tyrol, 1756, died 1832. He
was evidently a born Fiddle-maker, genius being stamped, in a greater
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 feeling 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 henceforth 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 be surpassed. 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 construction 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 associated with the name of Betts, and which have so
high a value.
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 independent class of makers.
FENDT, Bernard Simon, London, born in 1800, died in 1852. Son of the
above. He was an excellent workman. It is to be regretted that he did
not follow the excellent example set by his father, and let time 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
infatuation, 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. Purdy and Fendt
had also a shop in 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 to have
exercised more general care. His copies of Guarneri 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
Gasparo da Salo form, the varnish on which is superior to that on his
Violins. He made also an excellent quartette of instruments--Violin,
Viola, Violoncello, and Double-Bass--for the Exhibition of 1851. They
were certainly the best contemporary instruments exhibited, but he
failed to obtain the prize medal.
FENDT, Martin, London, born 1812, died 1845. Brother of the above.
Worked for Betts.
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 unsurpassed. 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 could not have lived by
his trade. He was, therefore, compelled to foster that which he no
doubt felt to be degrading. The copies of Stradivari by Jacob Fendt
are among his best efforts. The work is well done; the discoloration
of the wood cleverly managed, the effects of wear counterfeited with
greater skill than had ever been done before, 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; also worked in
Liverpool about 1856.
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.
FIRTH, G., Leeds, 1836.
FORSTER, William, born in 1713, died 1801.
William Forster,
Violin Maker,
in Brampton.
The family of the Forsters have played no unimportant part in the
history of Violins. The attention they commanded as makers, both from
artists and amateurs, has probably never been equalled in England.
Their instruments claimed attention from the moment they left their
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 1807.
William Forster,
Violin Maker,
in St. Martin's Lane, London,
17--
Son of William Forster mentioned above. Worked with his father at
Brampton in Cumberland, making spinning-wheels and Violins--two
singularly diverse occupations. It was, however, to the latter
industry he gave the most attention, and he soon became the great
maker of the neighbourhood. He afterwards added 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 throwing all his soul
into the manufacture of Violins he soon gave his master's patrons the
highest satisfaction. He ultimately commenced business on his own
behalf in the neighbourhood of Duke's Court, St. Martin's Lane, where
his abilities attracted considerable attention, and secured him the
patronage 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 excellent 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 Antonio and Girolamo Amati, variously modelled;
others are copies of Niccolo Amati. The wood and varnish also vary
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 manufacture 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 Lindley, and their value in his day was relatively 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 considerably
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 instruments 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.
William Forster, Junr., Violin,
Violoncello, Tenor & Bow Maker,
18-- Also Music Seller No 43
to their Royal Highnesses the
Prince of Wales and the Duke of
Cumberland.
Son of William Forster, the second of the family. Although this maker
did not attain to the celebrity of his father, his 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 1870. 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. Best known as joint author with W. Sandys of a "History of the
Violin" (London, 1864).
FRANKLAND, ----, London, about 1785.
FURBER, ----, London.
John Furber, Maker,
13, John's Row, top of Brick Lane,
Old St., Saint Luke. 1813.
There were several makers of this family, some of whom worked for
Betts, of the Royal Exchange. Many of their instruments are excellent,
and should unquestionably be more valued than they are. John Furber
made several Violins of the grand Amati pattern, and also copied with
much ability the "Betts" Stradivari, when the instrument belonged to
Messrs. Betts in the Royal Exchange, for whom he worked.
FURBER, Henry John, son of John Furber, London. He has made several
excellent instruments, and maintained the character for good
workmanship which has been associated with the name of Furber for
upwards of a century.
GIBBS, James, 1800-45. Worked for Samuel Gilkes and others.
GILKES, Samuel, London, born in 1787, died in 1827.
Gilkes.
From Forster's,
Violin and Violoncello Maker,
34, James Street, Buckingham Gate,
Westminster.
Was born at Morton Pinkney, in Northamptonshire. He became an
apprentice of Charles Harris, whose style he followed to some extent.
Upon leaving 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 praise of much of the work of this excellent maker.
The exquisite finish of many of his instruments evidences 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.
HARBOUR, ----, London, about 1785.
HARDIE, Matthew, Edinburgh, date from about 1800. He was the best
maker Scotland has had. The model is that of Amati; the work
throughout excellent. The linings are mostly of cedar. He died about
1825-26.
HARDIE, Thomas, Edinburgh. Worked with his father, Matthew Hardie. He
was born in 1804, died 1856.
HARE, John, London. About 1700. His label shows that he was in
partnership, his name being joined to that of Freeman, and the address
is given as "Near the Royal Exchange, Cornhill, London." Much
resembles the work and style of Urquhart. Varnish of fine quality.
HARE, Joseph, London, probably a son of John Hare, above-mentioned.
Varnish of excellent quality.
Joseph Hare, at ye Viol and Flute,
near the Royal Exchange, in Cornhill, London.
172--
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 instruments, 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 commissions to make Violins
for the export trade. His business in this direction so increased that
he obtained the services of his relative, Samuel Gilkes, as his
assistant. He never aimed at producing a counterpart of the instrument
that he copied by resorting to the use of 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 finish of these instruments is excellent, and as they
are covered with a good quality of varnish, they have every
recommendation of appearance.
HARRIS, Charles. Son of the above. Neat workmanship. Well-cut scroll.
Sound-holes not well formed. Yellow varnish. Worked for a short time
for John Hart.
[Illustration: _Plate XVIII_. GIUSEPPE GUARNERI DEL GESU. (THE
"VIEUXTEMPS.") ANTONIO STRADIVARI (INLAID). Date 1687. (FROM THE
PLOWDEN COLLECTION.)]
HART, John Thomas, born December 17, 1805, died January 1, 1874.
John Hart,
Maker,
14, Princes Street, Leicester Square,
London. Anno 18--
He was articled to Samuel Gilkes in May, 1820, of whom he learned the
mechanical branch of his profession. He afterwards centred his
attention upon the peculiar characteristics of the Cremonese and
Italian Violin-makers generally, and in a comparatively brief space of
time obtained an extensive acquaintance 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. Commencing business at a period when the desire to possess
instruments 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
frequently been 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. James Goding, the remnant of which was dispersed by Messrs.
Christie and Manson in 1857; the small but exquisite collection of Mr.
Charles Plowden, consisting of four Violins of Stradivari and four of
Guarneri, 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 Gillot, sold by Christie and Manson shortly after the
famous sale of pictures belonging to the same collector.
HAYNES, Jacob, London, 1746. Copied Stainer. The style resembles that
of Barrett.
HEESOM, Edward, London, 1748. Copied Stainer.
HILL, Joseph, London, 1715-84. 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, 1800-40. Son of the above.
HILL, Lockey, London, 1800-35. Brother of the above. Made many
excellent instruments.
HILL, William Ebsworth, London, 1817-95. Son of Lockey Hill. Made
several instruments in his younger days, but, like the rest of our
English makers, he long since discovered that new work was
unremunerative, and turned his attention to repairing and dealing in
old instruments, and became the founder of the well-known firm of W.
E. Hill and Sons, of Bond Street. He exhibited at the Exhibition of
1862 a Violin and Tenor, thus showing that Violin-making was not quite
extinguished in England.
HOLLOWAY, J., London, 1794.
HUME, Richard, Edinburgh, 16th century. A maker of Lutes, &c.
JAY, Henry, London, 17th 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, about 1744-77.
Made by Henry Jay,
in Long Acre, London. 1746.
A maker of Kits chiefly. At this period these juvenile Violins were in
much demand by dancing-masters. A few years ago a very choice
collection of these instruments was made by an Irish gentleman
residing at Paris, who obtained specimens from all parts of Europe.
Henry Jay also made Violoncellos, some of which have the names of
Longman and Broderip on the back.
JOHNSON, John, London, 1750.
Made and sold by John Johnson,
at the Harp and Crown, in Cheapside,
17 London. 53
The Violins bearing his label are dated from Cheapside. Johnson was a
music and musical instrument seller. In "The Professional Life of
Dibdin," written by himself, we have the following reference to this
City music-seller: "My brother introduced me to old Johnson, who at
that time kept a capital music-shop in Cheapside.[1] I soon, however,
grew tired of an attendance on him. He set me down to tune
Harpsichords, a mere mechanical employment, not at all to my taste."
"I saw plainly that I might have screwed up Harpsichords in old
Johnson's shop to all eternity, without advancing my fortune; and as
to the songs and sonatas that I brought him for sale, they had not
been performed at the theatres nor Vauxhall, nor any other place, and
Johnson would not print them." "The Thompsons, however, of St. Paul's
Churchyard, published six ballads for me, which sold at
three-halfpence a-piece, and for the copyright of which they
generously gave me three guineas." Though we may not feel disposed to
apply the term "generous" to a payment of half-a-guinea for a Dibdin
ballad, yet in all probability we are indebted to the Thompsons for
this particular recognition of merit. Happily true genius, when in
straits, generally finds relief. Were it otherwise, and had the
Thompsons been as deaf to Dibdin as John Johnson appears to have been,
"Tom Bowling," "Poor Jack," and many other compositions of sterling
merit, might never have been written.[2]
[Footnote 1: Dibdin's brother was captain of a merchant vessel, and
was intimate with Johnson the music-seller. On the death of Captain
Dibdin his brother composed "Tom Bowling," the music and words of
which bespeak the fraternal love of the composer.]
[Footnote 2: Dibdin was evidently discouraged in consequence of
Johnson's refusal to publish his songs: he says, "After I had broken
off with Johnson, I had some idea of turning my thoughts to merchants'
accounts--the very last thing upon earth for which I was calculated."]
KENNEDY, Alexander, London, 1700-86. Was a native of Scotland. He was
the first maker of Violins in his family, which was connected with the
manufacture for nearly two centuries.
Alexander Kennedy, Musical Instrument
Maker, living in Market Street, in Oxford
Road, London, 17--
KENNEDY, John, London, born 1730; died 1816. Nephew of Alexander
Kennedy. Made Violins and Tenors.
KENNEDY, Thomas, London, born 1784; died about 1870. Son of the above.
Probably made more instruments than any English maker, with the
exception of Crask.
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.
LISTER, George, 18th century.
LONGMAN AND BRODERIP, Cheapside, London, about 1760. They were
music-publishers and instrument-sellers, and were not Violin-makers.
Benjamin Banks, Jay, and others, made many of the instruments upon
which the name of Longman is stamped. Muzio Clementi was at one time a
partner in the firm. The business ultimately passed to Collard and
Collard.
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 similar work.
There is not a single portion of any of his Double-Basses that has
been carelessly 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.
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 Cremonese instruments, and thoroughly
understood their characteristics. His career was both chequered and
curious, sufficiently so, indeed, to cause our eminent novelist,
Charles Reade, to make it the subject of "Jack of all Trades: a
Matter-of-Fact Romance." Jack Lott (as he was familiarly styled)
therefore shares with Jacob Stainer the honour of having supplied
subject-matter for writers of fiction. It must, however, be said that
whilst Dr. Schuler's "Jacob Stainer" is mainly pure fiction, "Jack of
all Trades" is rightly entitled "a matter-of-fact romance." I have
many times heard John Lott relate the chief incidents so graphically
described by Charles Reade.
MACINTOSH, Dublin. Succeeded Perry and Wilkinson. Died about 1840.
MARSHALL, John, London, 1750.
MARTIN, ----, London, about 1790.
MAYSON, Walter H., Manchester, 1835-1904. A prolific maker. His later
work is highly spoken of.
MEARES, Richard, about 1677. Maker of Viols.
Richard Meares, without Bishopsgate,
near to Sir Paul Pinder's, London. Fecit 1677.
MIER, ----, London, about 1786.
MORRISON, John, London, about 1780-1803.
NAYLOR, Isaac, Headingly, near Leeds, about 1778-92.
NICHOLS, Edward, 18th century.
Edwardus Nichols,
Fecit ad exemplar Antoni Straduarii Cremonensis, 1763.
NORBORN, John, London, about 1723.
NORMAN, Barak, London, 1688-1740.
Barak Norman
and
Nathaniel Cross,
at the Bass Viol in St.
Paul's Church Yard,
London. Fecit 172--
The instruments of this maker are among the best of the Old English
school. His instructor in the art of Viol and Violin-making is
unknown, but judging from the character of his work it is very
probable he learned from Thomas Urquhart. This opinion is strengthened
upon examining his earliest instruments. We there find the same
peculiarities 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 of these
instruments will be found his name, surrounded with a design in
purfling, under the finger-board, or his monogram executed in
purfling. The same trade token will be found in his Violoncellos. All
endeavours to discover any existing English Violoncello, or record of
one, anterior to Barak Norman, have failed, and, consequently, it may
be assumed that he was the first maker of that instrument in England.
Here, again, is evidence of his partiality for the form of Maggini, as
he copied this maker in nearly all his Violoncellos. All the
Violoncellos of Barak Norman have bellies of good quality; the
modelling is executed skilfully, due care having been observed in
leaving sufficient wood. His Tenors 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
which belonged to Walter Brooksbank, Esq., of Windermere, is a label
in the handwriting of Nathaniel Cross, in 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.
Made by Norris and Barnes,
Violin, Violoncello, and Bow
Makers, To their Majesties,
Coventry Street, London.
Articled to Thomas Smith, the successor of Peter Wamsley. Similar work
to that of Thomas Smith. He became a partner of Robert Barnes.
PAMPHILON, Edward, London, 17th century.
Edward Pamphilon,
April the 3rd, 1685.
The Violins of this maker were formerly much prized. The model is very
high, and the appearance 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 Stradivari pattern.
PANORMO, Louis, London. Made Guitars chiefly.
PARKER, Daniel, London, 18th century. This is another maker of the
English school, who was possessed of exceptional 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 dates 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 have been but little noticed.
PEARCE, James, London, 18th century.
PEARCE, W., London, contemporary.
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 instruments bearing the
labels of these makers are frequently excellent in tone, material, and
finish.
POWELL, Thomas, London, 18th century.
Made by Thomas
Powell, No. 18, Clemens
Lane, Clare Market.
1793.
PRESTON, London, about 1724. Appears to have used his trade label in
the instruments he sold, made by makers he employed.
PRESTON, John, York, 18th century.
John Preston, York,
1791. Fecit.
RAWLINS, Henry, London, about 1781.
Restauratus Henricus Rawlins
Auspicio Giardini
Londini 1781.
He appears to have been patronised by Giardini, the Violinist,
according to the label here given. Giardini held the post of leader at
the Italian Opera at this period.
RAYMAN, Jacob, London, 17th century.
Jacob Rayman dwelling in
Blackman Street, Long--Southwark.
1641.
Jacob Rayman, at ye Bell
Yard in Southwark,
London, 1648.
The subject of this notice was probably a German, from the Tyrol, who
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 that time. His work is quite different from
that of the old English Viol-makers. The instruments of Rayman are of
a somewhat rough exterior, but full of character. 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. In the catalogue of the
effects of Tom Britton, mention is made of "an extraordinary Rayman."
RICHARDS, Edwin, London, contemporary. Maker and repairer.
ROOK, Joseph, Carlisle, about 1800.
ROSSE (or Ross), John, Bridewell, London, about 1562. Made Viols and
Bandoras.
ROSS, John, London, about 1596. Son of the above. Maker of Viols. The
varnish is excellent in quality.
SHAW, London, 1655. Viol maker.
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 Pickadilly, London. 1756.
SMITH, William, London, about 1770.
TARR, William, Manchester. Made many Double-Basses from about 1829.
TAYLOR, London, about 1800. A maker of much merit. Instruments of the
character of Panormo.
THOMPSON, London, 1749.
THOROWGOOD, Henry, London. Little known.
TILLEY, Thomas, London, about 1774.
TOBIN, Richard, London, 1800. Pupil of Perry, of Dublin. 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, 17th 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 he worked with
him. His varnish is equal to that on many Italian instruments.
VALENTINE, William, London, died about 1877. Made many Double-Basses
for Mr. Hart, which are highly valued.
WAMSLEY, Peter, London, 18th century. One of the best English makers.
His copies of Stainer are very superior.
Made by Peter Wamsley,
At ye Golden Harp, in Piccadilly,
London. 17--
WISE, Christopher, London, about 1650. Yellow varnish, neat
workmanship, flat model, small pattern.
WITHERS, Edward, Coventry Street. Succeeded William Davis.
WITHERS, Edward. Son of the above. Wardour Street, Soho. Was
instructed by John Lott.
YOUNG, London, about 1728. Lived in St. Paul's Churchyard. Purcell has
immortalised father and son in the first volume of his Catches.
"You scrapers who 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 XIII
The Violin and its Votaries
Sterne (himself a votary of the Fiddle) has well said, "Have not the
wisest of men in all ages, not excepting Solomon himself, had their
hobby-horses--their running-horses, their coins and their
cockle-shells, their drums and their trumpets, their Fiddles, their
pallets, their maggots and their butterflies? And so long as a man
rides his hobby-horse peaceably and quietly along the king's highway,
and neither compels you nor me to get up behind him,--pray, sir, what
have either you or I to do with it?" He further tell us, "There is no
disputing against hobby-horses;" and adds, "I seldom do: nor could I,
with any sort of grace, had I been an enemy to them at the bottom;
happening at certain intervals and changes of the moon, to be both
Fiddler and painter."
[Illustration: _Plate XIX_. GIUSEPPE GUARNERI DEL GESU. 1733. GIUSEPPE
GUARNERI DEL GESU. 1741. (LATE R. D. HAWLEY, ESQ.) ANTONIO STRADIVARI.
1726.]
The leading instrument is singularly favoured. It may be 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 powers 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 from 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 contrivance. 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, independently 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 Stradivari! 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 symphonies 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 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 consideration 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 connoisseurs as well as their
players.
Besides Italy, England, France, and Germany have had their great men
in the Fiddle world, whose instruments have ever been classed as
objects of _virtu_. 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 proportionally 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 pounds). These were old." 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 instruments 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 Medard, Boquay, Pierray, of the old
school, and Lupot and Pique of the modern.
In Germany there have been makers whose works have brought very high
prices. Stainer, Albani, Widhalm, Scheinlein, are names that will
serve to associate high values with German work. In the case of Jacob
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
superiority of Italian Violins over all others was thoroughly
recognised, 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 insignificant, as far as the
Italians themselves are concerned, and when France and England came
into competition with them for the possession of their Violins by
Amati, Stradivari, Guarneri, and the gems of other makers, 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 proportions 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 undergone 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 Jacob 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 popularity of the model. Among
the Germans who were following in the footsteps of Stainer were the
family of Kloz, Widhalm, Statelmann, and others of less repute. In
England there was quite an army of Stainer-worshippers. There were
Peter Wamsley, 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 steadfastly. 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 he so much
loved, but met with little encouragement in the beginning, so strong
was the prejudice in favour of the high model. However, 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 few by the early English makers be excepted, 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.
The instruments by the Amati 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 Stradivari and Guarneri at
the present time. Violins of Amati and other makers were, up to this
time, obtainable at nominal prices. The number in Italy was far in
excess of her requirements, the demand made upon them for choir
purposes in former days had ceased, and the number of Violins was thus
quite out of proportion to the players. The value of an Amati in
England in 1799 and 1804 may be gathered from the following extracts
from the day-book of the second William Forster, who was a dealer as
well as maker--"20th April, 1799. A Violoncello by Nicholas Amati,
with case and bow, 17 pounds 17s. 0d.;" and further on--"5th July,
1804, an Amati Violin 31 pounds 10s. 0d." These prices were probably
less than those which William 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 Amati was so
clamorous as speedily to effect 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 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 Girolamo, Antonio, or Niccolo; but attention now
began to be directed towards the works of the brothers, and to those
of Niccolo in particular, as the flat model gained in the appreciation
of the Fiddling world. Grand Amatis became the coveted Fiddles; they
were put up frequently at twice the value of the smaller patterns--a
position they still maintain. The taste for the flat form having thus
been developed, the works of Antonio Stradivari 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 without being 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 captivating the _dilettanti_, the demand
increased to an extent far beyond that commanded by the works of the
Amati at the height of their popularity.
There were a few Stradivari instruments in England when Amati was the
favourite maker, and their value at that period may be estimated, if
it be true that Cervetto, the father of the famous Violoncellist, was
unable to dispose of a Stradivari 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 artists of the
early part of the present century who used the instruments of
Stradivari were Boccherini, Viotti, Rode, Kreutzer, Habeneck, Mazas,
Lafont, and Baillot.
About the year 1820 the fame of Giuseppe Guarneri as a great maker was
published beyond Italy, chiefly through the instrumentality of
Paganini. That wonderful player came to possess a splendid specimen of
Guarneri del Gesu, 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. Livron) lent him the instrument to play upon at
a concert at Leghorn. When the concert had concluded, 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 present or higher compliment could not have been offered.
The names of Amati and Stradivari became familiar to the musical world
gradually, but Guarneri, in the hands of a Paganini, came forth at a
bound. This illustrious Violin was often credited 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 Guarneri. The
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 Guarneri were brought to light, much
surprise was felt that such treasures should have been known to such 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 Giuseppe
Guarneri with Violins 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 Guarneri, one evidencing an artistic grandeur,
together with a high finish, but little inferior to those of Antonio
Stradivari. The marked difference between these epochs of Guarneri's
manufacture has led to a great amount of misconception. Fifty years
since, the world possessed little information on the subject, 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 the various instruments of the
several epochs of Guarneri have set at rest all doubts concerning
them. They no longer require dates or labels; they are as easily
distinguished and classed as the works of Amati or Stradivari.
Attention was claimed for the works of Maggini by the charming Belgian
Violinist, Charles de Beriot, 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 Beriot 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 Beriot'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 instruments. 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 naturally 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 of Guadagnini, Gagliano, Grancino, Santo
Serafino, Montagnana, 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 exhausted. 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 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 way to the desired end. In the case of Italian
Violins it was Luigi 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, which 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 an influence on his future life, far greater
than was ever contemplated 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 endeavoured
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 employment 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 workmanship 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 of existence. Upon entering a village
he endeavoured to ingratiate himself with the villagers, and thus
obtain information of the whereabouts of any inhabitants who were
possessed of any member of the Fiddle family, his object being to
examine and secure, if possible, such instruments as were possessed of
any merit. It can readily be conceived that at the commencement of the
present century, numbers of valuable Cremonese and other instruments
were in the hands of very humble people. Luigi 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 usual method of trading was to
exchange with the simple-minded 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 Luigi 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, however, that everything on this earth
is only 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. Luigi Tarisio, after gathering together 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 services 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
tempting 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 his
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.
His first visit to Paris was in 1827, an eventful year in the history
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 silent
intent 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 Niccolo 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 pleasurable feelings he experienced.
He demanded 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, Ruggeri, 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 overestimated 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
to visit Paris again, taking 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 extended his acquaintance with the Parisian luthiers,
among whom were MM. Vuillaume, Thibout, and Chanot senior. They were
all delighted with the gems that Tarisio had brought, and 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.
[Illustration: _Plate XX_. GASPARO DA SALO. (LATE LORD AMHERST OF
HACKNEY.) GIUSEPPE GUARNERI DEL GESU. 1735. (PRINCE FREDERICK WILLIAM
OF PRUSSIA.)]
This remarkable man may be said to have lived for nought else but his
Fiddles. Mr. Charles Reade, who knew him well, says:[1] "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 would sooner possess one 'Stradivari' than
twenty such equipages_." There is a very characteristic anecdote of
Tarisio, which is also related by Mr. Reade in his article on Cremona
Violins, entitled the "Romance of Fiddle-dealing":
"Well, one day Georges 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 Stradivari 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 that the sun will take all the colour out of
that maker's varnish. Tarisio came in from Italy, and his eye lighted
instantly on the Stradivari 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 put 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 tightly 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 me at the time, and I have often
thought of them since. '_Ah, my poor Mr. Reade, the Bass of Spain was
all but lost!_'
"Was not this a true connoisseur--a genuine enthusiast? Observe, there
was also an ephemeral insect called Luigi Tarisio, who would have gone
down with the Bass; but that made no impression on his mind. _De
minimis non curat 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 the
pie. It was sold for 20,000 fr. (800 pounds). 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_."
[Footnote 1: "Cremona Violins," _Pall Mall Gazette_, August, 1872.]
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
Stradivari, in perfect preservation, to a Paris dealer. After having
done so he hungered for it again. For years he never visited Paris
without inquiring 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 wait 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 eye 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 words 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 to the collection,
amongst others, of the late Mr. James Goding, 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. Goding taking out
his treasures he was inexpressibly astonished to hear his visitor
calling out the maker of each instrument before he had had time to
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. Goding whispered to a friend
standing by, "Why, the man must certainly smell them, he has not had
time to look." Many instruments 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"
Guarneri--the Guarneri known as Lafont's--the beautiful Bergonzi
Violin--the Viola known as Lord Macdonald's--General Kidd's Stradivari
Violoncello--the Marquis de la Rosa's Amati--Ole Bull's Guarneri--the
Santo Serafino 'Cello--and other 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 lodgings, in the Via Legnano, near the
Porta Tenaglia, in Milan, no living being but himself was ever
permitted to enter.[2] 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, however, 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 Sacchi, 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 witnessed
was indeed a painful one. On a miserable couch rested the lifeless
body of Luigi Tarisio; around, everything was 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 with sacking. This was
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 were some half-dozen Stradivari
Violins, Tenors, and Violoncellos, the chamber Gasparo da Salo
Double-Bass now in the possession of Mr. Bennett, and the Ruggeri now
belonging to Mr. J. R. Bridson, besides upwards of one hundred Italian
instruments of various makers, and others of different nationalities.
All these were passed over by the visitors as so much rubbish in their
search for something more marketable. At last they alighted on 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 nephews
came forth and laid claim to the goods and chattels of the Italian
Fiddle connoisseur.
[Footnote 2: The house is now turned, with those adjoining, into a
manufactory. When Luigi Tarisio lived there it was a small restaurant,
similar to those seen in the side streets of Soho.]
Luigi Tarisio died in October, 1854. Three months later, upon the news
being communicated to M. Vuillaume, of Paris, he soon set out for
Milan, and had the good fortune to secure the whole of the collection,
at a price which left him a handsome profit upon the transaction,
besides the pleasurable feeling of 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 unmarketable names and substituting marketable
counterfeits had not arrived.
The principal buyers of Italian instruments on the Continent, when
dealing in this class of property was in its infancy, were Aldric, MM.
Chanot senior, Thibout, Gand, Vuillaume of Paris, and Vuillaume of
Brussels. In London, among others, were Davis, Betts, 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 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 find 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. Connoisseurship 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.
Charles Lamb, on being asked how he distinguished his "ragged
veterans" in their tattered and unlettered bindings, answered, "How
does a shepherd know his sheep?" It has been observed that, "Touch
becomes infinitely more exquisite in men whose employment requires
them to examine the polish of bodies than it is in others. In music
only the simplest and plainest compositions are relished at first; use
and practice extend our pleasure--teach us to relish finer melody, and
by degrees enable us to enter into the intricate and compounded
pleasure of harmony." Thus it is with connoisseurship in Violins.
Custom and observation, springing from a natural disposition, make
prominent features and minute points of difference before unseen,
resulting in a knowledge of style of which it has been well said
"Every man has his own, like his own nose."
As an ardent votary of the Violin, regarded from a point of view at
once artistic and curious, Count Cozio di Salabue takes precedence of
all others. He was born about the time when the art of Italian
Violin-making began to show signs of decadence, and having cultivated
a taste for Cremonese instruments, he resolved to gratify his passion
by bringing together a collection of Violins which should be
representative of the work and character of each maker, and serve as
models to those seeking to tread the path of the makers who made
Cremona eminent as a seat of Violin manufacture. Virtuosity emanating
from a spirit of beneficence is somewhat rare. When, however, utility
occupies a prominent place in the thoughts of the virtuoso, he becomes
a benefactor. The virtuosity of Count Cozio was of this character. His
love for Cremonese instruments was neither whimsical nor transient.
From the time when he secured the contents of the shop of Stradivari
to the end of his life--a period of about fifty years--he appears to
have exerted himself to obtain as much information as possible
relative to the art, and to collect masterpieces that they might in
some measure be the means of recovering a lost art. When in the year
1775 he secured ten instruments out of ninety-one which Stradivari
left in his shop at the time of his death, he must surely have
considered himself singularly fortunate, and the happiest of
collectors.[3] That such good fortune prompted him to make fresh
overtures of purchase cannot be wondered at. We learn from the
correspondence of Paolo Stradivari that the Count had caused two
letters to be sent by the firm of Anselmi di Briata to Paolo inquiring
if he was willing to part with the tools and patterns used by his
father Antonio, and that Paolo replied on May 4, 1776: "I have already
told you that I have no objection to sell all those patterns,
measures, and tools which I happen to have in my possession, provided
that they do not remain in Cremona, and you will recollect that I have
shown you all the tools I have, and also the box containing the
patterns.... I place all at your disposal, and as it is simply a
friendly matter" (Paolo Stradivari appears to have had large dealings
in cloth and other goods with the firm of Anselmi di Briata, of
Casale, a small city on the Po), "I will give you everything for
twenty-eight giliati."[4] It does not appear that Paolo's
correspondents were moved in their answer by any feelings of
sentimentality or of friendship: on the contrary, the tone of the
letter was clearly commercial, they having made an offer of
twenty-three giliati less than demanded. Paolo Stradivari in his
reply, dated June 4, 1776, says: "Putting ceremony aside, I write in a
mercantile style. I see from your favour of the 13th ultimo (which I
only received by the last courier), that you offer me five giliati for
all the patterns and moulds which I happen to possess, as well as for
those lent to Bergonzi, and also for the tools of the trade of my late
father; but this is too little; however, to show you the desire I have
to please you, and in order that not a single thing belonging to my
father be left in Cremona, I will part with them for six giliati,
providing that you pay them at once into the hands of Domenico Dupuy &
Sons, silk stocking manufacturers. I will send you the things
above-mentioned, conditionally that I keep the five giliati and use
the other one to defray expenses for the case, the packing, and the
custom-house duty, which will be necessary to send them, and I shall
let you have back through Messrs. Dupuy, residing under the Market
Arcades in Turin, any balance that should remain, or (if you like) you
may pay the said Messrs. Dupuy seven giliati, and I shall then defray
all the expenses, and send also the two snake-wood bows which I
possess.--(Signed) PAOLO STRADIVARI."
[Footnote 3: These instruments and the tools appear to have been in
the possession of Paolo from the year 1743, when Francesco died, and
Paolo opened the shop in the Piazza S. Domenico as a cloth warehouse.
He therefore seems to have only decided to dispose of his father's
tools when he was in a feeble state of health, he having died, as
already noticed, before the purchase was settled, aged 68.]
[Footnote 4: A giliati was a Tuscan gold coin bearing the arms of
Florence, the value of which was 9s. 6-1/2d. Its present purchasing
power would probably be three times as much, and therefore the sum
asked by Paolo Stradivari would be equal to 38 pounds 12s. 10-1/2d.]
In reply to this interesting letter, Messrs. Anselmi di Briata appear
to have written accepting the terms offered by Paolo Stradivari, and
to have explained to him that they had been in treaty with a certain
Signor Boroni, relative to the purchase of a Violin, and having come
to terms they wished the instrument to be packed with the tools and
moulds. Paolo, in acknowledging this communication, June 25, 1776,
says: "In reply to your favour of the 10th instant, Signor Boroni will
hand me over the Violin upon hearing that the money has been paid to
Messrs. Dupuy. I shall then have no objection to place it in the same
case together with the patterns and implements left by my father."
From this and subsequent correspondence we learn that Messrs. Anselmi
di Briata, being wholesale traders, were in a suitable position to act
as intermediaries in the purchase of Violins on behalf of Count Cozio.
Their business necessitated their visiting Cremona, and thus they
appear to have seen the Violin of Signor Boroni, and also another
belonging to a monk or friar named Father Ravizza, both of which were
subsequently bought, as seen by the following extracts from a letter
of Paolo Stradivari:--
"Cremona, July 10, 1776. We learn from Messrs. Dupuy of the receipt of
the seven giliati, which you have paid on our account.... As we have
already prepared everything, we shall therefore inform Father Ravizza
and Signor Boroni; I have, however, to mention that I did not think I
possessed so many things as I have found. It being according to what
has been promised, it cannot be discussed over again.... It will be a
very heavy case, on account of the quantity of patterns and tools, and
consequently it will be dangerous to put the Violins in the same
package." The writer refers to the two instruments before mentioned:
"I fear without care they will let it fall in unloading it, and the
Violins will be damaged; I inform you therefore of the fact.... You
must let me know how I have to send the case. If by land, through the
firm of Tabarini, of Piacenza, or to take the opportunity of sending
by the Po." In passing, it may be remarked that the distance between
Cremona and Casale by the river Po is about sixty miles. The later
correspondence makes known the fact of the precious freight having
been consigned to the firm of Anselmi di Briata by way of the Po, and
that it was entrusted to the care and charge of a barge-master named
Gobbi.
It is by no means uncommon to discover the memories of men kept green
in our minds from causes strangely curious and unexpected. Many seek
to render their names immortal by some act the nature of which would
seem to be imperishable, and chiefly fail of their object; whilst
others, obscure and unthought of, live on by accident. Imagine the
paints and brushes, the pencils and palettes, the easel and the
sketches of Raffaele having been given over to a Po barge-master, and
that chance had divulged his name. Would he not in these days of
microscopic biography have furnished work for the genealogist, and
been made the subject of numberless pictures? Hence it is that the
admirers of Stradivari cannot fail to remember the name of honest
Gobbi, who carried the chest wherein were the tools with which the
Raffaele of Violin-making wrought the instruments which have served to
render his memory immortal.
Soon after the date of Paolo's last letter, he became seriously ill,
dying on the 9th of October, 1776. The correspondence was then taken
up by his son Antonio. He says in his letter dated November 21, 1776:
"I shall send you the case with the patterns and tools of my late
grandfather Antonio, which was packed and closed before my father was
bedridden. You will find it well-arranged, with mark on it, and with
red tape and seal as on the Violins already sent to you." He next
refers to other patterns which he found locked up in a chest and which
he believes were unknown or forgotten by his father, and offers to
dispose of them, with a Viola, and concludes by promising to send the
receipts, the copies of which show that the remnants of the tools and
patterns were bought for three giliati.
It is unnecessary in this place to make further reference to Count
Cozio as a collector, the chief information concerning him being
spread over the section of Italian makers. The facsimile of one of the
Count's letters here given will serve both as an interesting
remembrance of him and as evidence of his keen interest in all
relating to the art of which he was so distinguished a votary.
[Illustration: Letter of Count Cozio.]
Probably the earliest collector of Italian Violins in England was
William Corbett. He was a member of the King's orchestra, and having
obtained permission to go abroad, went to Italy in 1710, and resided
at Rome many years, where he is said to have made a rare collection of
music and musical instruments. How he managed to gratify his desire in
this direction seems not to have been understood by his friends, his
means, in their estimation, not being equal to such an expenditure.
Hence arose a report that he was employed by the Government to watch
the Pretender. Corbett died at an advanced age in 1748, and bequeathed
his "Gallery of Cremonys and Stainers" to the authorities of Gresham
College, with a view that they should remain for inspection under
certain conditions, leaving ten pounds per annum to an attendant to
show the instruments. Whether the wishes of the testator were carried
out in any way there is no information, but the instruments are said
to have been disposed of by auction a short time after his decease.
The principal early collectors in this country were the Duke of
Hamilton, the Duke of Cambridge, the Earl of Falmouth, the Duke of
Marlborough, Lord Macdonald, and a few others. Later, Mr. Andrew
Fountaine, of Narford Hall, Norfolk, became the owner of several fine
Italian instruments, and made himself better acquainted with the
subject, perhaps, than any amateur of his time. Among the Stradivari
Violins which Mr. Fountaine possessed was that which he purchased from
M. Habeneck, the famous professor at the Paris Conservatoire in the
early part of the nineteenth century. 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. The Guarneri Violins that he possessed were of a very high
class. Among these may be mentioned a very small Violin by Giuseppe
Guarneri, probably unique, which instrument was exhibited among the
Cremonese Violins at the South Kensington Museum in 1872, together
with another of the same size by Stradivari, and a third by the
brothers Amati.
The number of rarities brought together by the late Mr. James Goding
was in every respect remarkable. At one period he owned twelve
Stradivari Violins, and nearly the same number by Giuseppe Guarneri,
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 1857. Mr. Plowden's
collection was another remarkable one, consisting of eight instruments
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 specimens of every age and clime; and
at one time he must have had upwards of 500 instruments, the chief
part of which belonged 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 sometimes possesses those unable to use
them, perhaps that of Mr. Gillott is the most singular.
Notable collections, be they of Fiddles, medals, pottery, or pictures,
have sometimes had their rise in accidents of a curious kind. Lord
Northwick dated his passion for coins to a bag of brass ones, which he
purchased in sport for eight pounds. His lordship ended by purchasing,
in conjunction with Payne Knight, the collection of Sir Robert
Ainslie, for eight thousand pounds, besides sharing with the same
collector the famous Sicilian coins belonging to the Prince
Torremuzza. The Gillott collection of Fiddles had its origin in a
picture deal. Mr. Gillott happened to be making terms in his gallery
at Edgbaston relative to an exchange of pictures with Edwin
Atherstone,[5] poet and novelist, who collected both Violins and
pictures. A difficulty arose in adjusting the balance, when Mr.
Atherstone suggested throwing a Fiddle in as a counterpoise. "That
would be to no purpose," remarked Mr. Gillott, "for I have neither
knowledge of music nor of the Fiddle." "I am aware of that," rejoined
his friend; "but Violins are often of extraordinary value as works of
art." Mr. Gillott, becoming interested in the subject, agreed to
accept the Fiddle as a make-weight, and the business was settled. A
few months later the floor of his picture gallery on all sides was
lined with cases, single and double, containing Violins in seemingly
endless profusion. It was about the year 1848 he conceived the notion
of bringing together this mammoth collection; and in about four years
he had made himself master of the largest number of Italian
instruments ever owned by a single individual. 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 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 he had
instructions 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 enveloped in the fine
dust which had crept through the crevices of the cardboard sarcophagi
in which they had rested for the previous 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
inquiry. After due consideration I attacked pyramid No. 1, 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 Giuseppe
Guarneri, filius Andreae, a charming specimen (now in the ownership 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 the 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
well be 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 with 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 inquired 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
inquiry. 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
tales of heroism might they have furnished of the part they played at
the "Fall of Babylon" and the "Siege of Corinth," aye! and
"Wellington's Victory" (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 proceed 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. Bergonzi, Amati, Andrea Guarneri, Cappa,
Grancino, Testore, Landolfi, 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 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 _bedroom_. 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 once I commenced operations. Pushing aside
the first sliding door, I saw a row of those cardboard 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 readily be imagined that an idea had taken possession of my mind,
that I had not, after all, seen the best portion of the collection.
The circumstance 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 Stradivari 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 Giuseppe Guarneri, the instrument
afterwards bought by Lord Dunmore, date 1732. Pursuing my delightful
occupation, I opened another case, the contents of which put the rest
completely in the shade--here rested the Stradivari, date 1715, the
gem of the collection. Unable to restrain my curiosity, I rapidly
opened sixteen cases in all, from which I took out six Stradivari, two
Guarneri, one Bergonzi, two Amati, and five other Violins of a high
class.
[Footnote 5: Edwin Atherstone, born 1788, died 1872; was the author of
"The Fall of Nineveh" and "The Last Days of Herculaneum," two poems in
blank verse, and of a novel, "The Sea Kings of England," of which Sir
Walter Scott wrote approvingly.]
It was observed at the time of the sale of this remarkable collection,
which took place shortly after the dispersion of Mr. Gillott's gallery
of pictures, that "Every well-ordered display of fireworks should have
its climax of luminous and detonating splendour, throwing into shade
all the preliminary squibs, crackers, and rockets, the Catherine
wheels, the Roman candles, and the golden rain. The French, with
modest 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.
Dr. Johnson, who understood neither Fiddling nor painting, who
collected neither coins nor cockle-shells, maggots nor butterflies,
was clearly of the same opinion as the author of "Tristram Shandy,"
that there is no disputing against hobby-horses. He says: "The pride
or the pleasure of making collections, if it be restrained by prudence
and morality, produces a pleasing remission after more laborious
studies; furnishes an amusement, not wholly unprofitable, for that
part of life, the greater part of many lives, which would otherwise be
lost in idleness or vice; it produces a useful traffic between the
industry of indigence and the curiosity of wealth, and brings many
things to notice that would be neglected."
SECTION XIV
Sketch of the Progress of the Violin
It may be said that the Violin made its appearance about the middle of
the sixteenth century. There are instances where reference is made to
Violins and Violin-playing in connection with times prior to that
above-named, but no reliance can be placed on the statements. Leonardo
da Vinci, 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.[1] 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. Reference is made to
the picture of the "Marriage at Cana," by Paolo Veronese, as
furnishing evidence of the form of instruments used in Italy in the
16th century, and a description is given of the musical part of the
subject as follows: "In the foreground, in the vacant space of the
semicircle formed by the table, at which the guests of the marriage at
Cana are seated, Titian is playing on the Double-Bass, Paolo Veronese
and Tintoretto on the Violoncello; a man with a cross on his breast is
playing on the Violin, Bassano is blowing the Flute, and a Turkish
slave the Sackbut."
[Footnote 1: "Lives of Haydn and Mozart," translated from the French
by L. A. C. Bombet. 1818.]
[Illustration: "The Marriage at Cana."]
The naming of the performers is presumably correct, and greatly
heightens our interest in the group musically. It is clear, however,
that the nomenclature of the instruments is erroneous. In the engraved
section of the famous picture here given, Paolo Veronese is
represented taking part in the performance of a Madrigal, wearing an
expression of countenance indicative of rapt pleasure, engendered by
the mingling of the tones of his Tenor Viol in the harmonies. Behind
Paolo Veronese is seated Tintoretto, playing an instrument identical
with that in the hands of the painter of the picture. On the opposite
side of the table is Titian, with the point of his bow almost touching
the dog, playing the fundamental tones on the Violono. He apparently
displays an amount of real relish for his task, which bespeaks a
knowledge of the responsibility belonging to the post of Basso. The
ecclesiastic seated next to Titian, wearing the chain with crucifix,
is performing on a Soprano Viol. The instruments, in short, are
Italian Viols, the Tenors of which were strung with six strings, and
the Violono, or Bass, with six or seven. It is this order of Viols to
which reference is made in the work of Ganassi del Fontego, and they
are, therefore, distinct from the four-stringed Viols made at Brescia
and Mantua.
The earliest player on the Violin of whom we have any account worthy
of attention was Baltazarini, a native of Piedmont. He removed to
France in the year 1577, whither he was sent by Marshal de Brissac to
superintend the music of Catherine de Medici. He was probably the
introducer of Italian dances into Paris, and he delighted the Court as
much by his skill on the Violin as by his writing of ballet music.
During the last half of the sixteenth century 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 character; 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 opera "Orfeo," by Claudio Monteverde, a Cremonese,
famous both as a composer and Violist, was represented in 1608. The
opera in those times differed essentially from that 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 alla Francese) are to
accompany the character of Hope, from which it is inferred that a band
of Violins was in use not much later.
It is to the introduction of the Sonata that the rapid progress in the
cultivation of Violin-playing is due. Dr. Burney tells us the earliest
Sonatas or Trios for two Violins and a Bass he discovered were
published by Francesco Turini, organist of the Duomo, at Brescia,
under the following title: "Madrigali a una, due, e tre voci, con
alcune Sonate a due e a tre, Venezia, 1624." He says: "I was
instigated by this early date to score one of these Sonatas, which
consisted of only a single movement in figure and imitation
throughout, in which so little use was made of the power of the bow in
varying the expression of the same notes, that each part might have
been as well played on one instrument as another."
In this branch of composition Corelli shone forth with considerable
lustre, and gave great impetus to the culture of the Violin. It was at
Rome that his first twelve Sonatas were published, in 1683. In 1685
the second set appeared, entitled "Balletti da Camera"; four years
later the third set was published. The genius of Corelli may be said
to have revolutionised Violin-playing. He had followers in the chief
cities of Italy. There was Vitali at Modena, Visconti at Cremona (who,
it is said, tendered his advice to Stradivari upon the construction of
his instruments--advice, I think, little needed); Veracini at Bologna,
and a host of others. Dibdin, the Tyrtaeus of the British navy, said:
"I had always delighted in Corelli, whose harmonies are an assemblage
of melodies. I, therefore, got his Concertos in single parts, and put
them into score, by which means I saw all the workings of his mind at
the time he composed them; I so managed that I not only comprehended
in what manner the parts had been worked, but how, in every way, they
might have been worked. From this severe but profitable exercise, I
drew all the best properties of harmony, and among the rest I learnt
the valuable secret, that men of strong minds may violate to advantage
many of those rules of composition which are dogmatically imposed."
[Illustration: _Plate XXI_. ANTONIO STRADIVARI. 1690. (Made for Cosimo
III. de Medici, Grand Duke of Florence.)]
We must now retrace our steps somewhat, in order to allude to another
Violinist, who influenced the progress of the leading instrument out
of Italy, viz., Jean Baptiste Lulli. The son of a Tuscan peasant, born
in the year 1633, Lulli'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 Lulli and the stew-pans[2]
bristles with interest for juvenile musicians, but the hero is often
overlooked by graver people, on account of his culinary associations.
When Lulli 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 king derived much pleasure
from listening to Lulli's music, and established a new band on purpose
for the composer, namely, "Les petits Violons," to distinguish it from
the band of twenty-four. He composed much music for the Court ballets
in which the king danced.
[Footnote 2: Lulli 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 been requested by
Mademoiselle de Montpensier, niece of Louis XIV., to procure for her
an Italian boy as page, and happening to see Lulli in 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.]
Lulli contributed greatly to the improvement of French music. He wrote
several operas, and many compositions for the Church, all of which
served to raise the standard of 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, even in the primitive age of
Violin-playing, we were not without our national composers for the
instrument. Dr. Benjamin 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 1660,
which were the first sonatas written by an Englishman. About this date
Charles II. established his band of twenty-four Violins. During his
residence on the Continent he had frequent opportunities of hearing
the leading instrument, and seems 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. The leader was Thomas Baltzar, who was
regarded as the best player of his time. Anthony Wood met Baltzar at
Oxford, and says he "saw him run up his fingers to the end of the
finger-board of the Violin, and run them back insensibly, and all in
alacrity and in very good time, which he nor any one in England saw
the like before." Wood tells us that Baltzar "was buried in the
cloister belonging to St. Peter's Church in Westminster." The
emoluments attached to the Royal band, according to Samuel Pepys,
appear to have been somewhat irregular. In the Diary, December 19,
1666, we read: "Talked of the King's family with Mr. Kingston, the
organist. He says many of the musique are ready to starve, they being
five years behindhand for their wages; nay, Evens, the famous man upon
the Harp, having not his equal in the world, did the other day die for
mere want, and was fain to be buried at the alms of the parish, and
carried to his grave in the dark at night without one linke, but that
Mr. Kingston met it by chance, and did give 12d. to buy two or three
links."
The state of the Merry Monarch's exchequer in 1662, according to an
extract from the Emoluments of the Audit Office, seems to have been
singularly prosperous. An order runs as follows: "These are to require
you to pay, or cause to be paid, to John Bannister, one of His
Majesty's musicians in ordinary, the sum of forty pounds for two
Cremona Violins, by him bought and delivered for His Majesty's
service, as may appear by the bill annexed; and also ten pounds for
strings for two years ending 24th June, 1662."
The King's band was led in 1663 by the above-named John Bannister, who
was an excellent Violinist. His name is associated with the earliest
concerts in England, namely, those held at "four of the clock in the
afternoon" at the George Tavern, in Whitefriars. Roger North informs
us the shopkeepers and others went to sing and "enjoy ale and
tobacco," and the charge was one shilling and "call for what you
please."
In the year 1683, Henry Purcell, organist of the Chapel Royal,
published twelve sonatas for two Violins and a Bass. These famous
instrumental compositions were written, the author tells us, in "just
imitation of the most famed Italian masters, principally to bring the
seriousness and gravity of that sort of musick into vogue." Purcell,
in conformity with an age of dedications, thus addressed the Merry
Monarch:--
"May it please your Majesty, I had not assum'd the confidence of
laying ye following compositions at your sacred feet, but that, as
they are the immediate results of your Majestie's Royal favour and
benignity to me (which have made me what I am), so I am constrained to
hope I may presume amongst others of your Majestie's over-obliged and
altogether undeserving subjects that your Majesty will, with your
accustomed clemency, vouchsafe to pardon the best endeavours of your
Majestie's
"Most humble and obedient subject and servant,
"H. PURCELL."
Charles II. is said to have understood his notes, and to sing in (in
the words of one who had sung with him) a plump bass, but that he only
looked upon music as an incentive to mirth, not caring for any that he
could not "stamp the time to." The endeavour of his accomplished and
gifted young organist to lead the King and his people to admire what
he terms "the seriousness and gravity" of Italian music, and "to
loathe the levity and balladry of our neighbours," was indeed worthy
of England's greatest musician.
In the year 1678, Thomas Britton, known as the "musical small-coal
man," gave concerts in this country, and a long series it was,
extending over a period of forty-six years. The shape the movement
took was that of a musical club, which was maintained at Britton's
expense.
The concert-room of Tom Britton was over his coal-shop in Aylesbury
Street, leading from Clerkenwell Green to St. John Street. From the
year 1678 to the time of his death, in 1714, the concerts of Britton
were attended by persons of all ranks.
"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.
Cyllenius 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."[3]
[Footnote 3: These verses were written by Mr. John Hughes, who was a
frequent performer on the Violin at Britton's concerts. (Hawkins.)]
Thus the first germ of the great musical societies gave a marked
impulse to the culture of stringed music in England. Attention was
turned to the subject; its humanising effects were recognised, and
parties met in several places for the practice of chamber music. Our
progress in Violin-playing at this date was clearly satisfactory. We
had a Violinist named John Henry Eccles, belonging to a clever family
of musicians. He became a member of the band of Louis XIV., and was
regarded as an excellent player and musician. He published in Paris
some solos for the Violin in 1720. His brother Thomas was also a good
Violinist. Fortune, however, did not smile upon him. He is described
as being one of those itinerant musicians--perhaps the last of
them--who in winter evenings went to taverns, and for a slender
subsistence bore the insults of those disinclined to listen to their
performance. This order of itinerant musicians may be described as
having descended from the Fiddling minstrels, whom the wealthy in
earlier times often retained in their houses, giving them coats and
badges bearing the family arms. These musicians, in place of amusing
the nobility, ultimately attended wakes and fairs. They were sometimes
retained at the large inns, where the guest while eating, an old
English writer says, was "offered music, which he may freely take or
refuse, and if he be solitary the musicians will give him the good
day, with music in the morning." In Puritan times this class of
musician was thought to have so much increased as to need a special
act for their suppression, which gave rise to Butler's creation, the
"Champion Crowdero." Returning to our subject with Thomas Eccles, we
have the following interesting account of the unfortunate Violinist,
by a musician: "It was about the month of November, 1753, that I, with
some friends, were met to spend the evening at a tavern in the City,
when this man, in a mean but decent garb, was introduced to us by the
waiter; immediately upon opening the door I heard the twang of one of
his strings from under his coat, which was accompanied by the
question, 'Gentlemen, will you please to hear my music?' Our
curiosity, and the modesty of the man's deportment, inclined us to say
yes, and music he gave us, such as I had never heard before, nor shall
again under the same circumstances. With as fine and delicate a hand
as I ever heard, he played the whole fifth and ninth solos of Corelli,
and two songs of Mr. Handel; in short, his performance was such as
would command the attention of the nicest ear, and left us his
auditors much at a loss to guess what it was that constrained him to
seek his living in a way so disreputable. He made no secret of his
name; he said he was the youngest of three brothers, and that Henry,
the middle one, had been his master, and was then in the service of
the King of France. He lodged in the Butcher Row, near Temple Bar, and
was well known to the musicians of his time, who thought themselves
disgraced by this practice of his, for which they have a term of
reproach not very intelligible; they call it _going a-busking_."[4]
[Footnote 4: The term "busker" is still applied to musicians who
perform outside public-houses, on steamboats, and elsewhere.]
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," and the "Art of Playing on the Violin," the
latter being the first instruction 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.
Having lightly sketched the progress of the Violin in England down to
about the year 1750, it will, perhaps, be better to take the thread of
the instrument's progress in Italy, which we brought to the days of
Corelli.
The first half of the 18th century was rich in Italian Violinists and
writers for the instrument, of whom the chief was Giuseppe Tartini,
born 1692. Dr. Burney says of his compositions: "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
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 compositions of Tartini. The truth of Burney's remarks
is better understood at this moment than when penned. During the space
of nearly a century the sonatas of Tartini lay dormant, and only
within recent 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 Violinist of his time."
The immediate follower of the style of Locatelli was Lolli, 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, having neither sense nor
grace to recommend it.
Felice Giardini was another musician of the style of Locatelli.[5] He
was born at Turin, in the year 1716. His performance at Naples and
Berlin excited considerable notice. In 1742 he visited England, and
created some sensation, his style being new to the British public.
[Footnote 5: In "Les Maitres Classiques," edited by M. Alard, and the
"Hohe Schule," edited by Ferdinand David, will be found some of the
best examples of this composer, as well as of many others noticed
here.]
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 compositions movements of varied
styles, well written for their respective instruments. His quintettes
are among his chief productions, and their elegance and brilliancy are
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
who wrote quintettes 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. 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 exhibit the capabilities of the instrument in
elegantly constructed passages, such as none but a master of the
Violin could pen. He wrote upwards of twenty 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 landmark 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. The "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 Tenor, and, lastly, a "Violin
School." I cannot but think that Campagnoli's educational compositions
do not receive the attention which they merit, and are too often laid
aside as old-fashioned. There is 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 February 18, 1784, died May 27, 1840. It is
needless to recount the extraordinary achievements of this remarkable
man. M. Fetis 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 imitation.
From Paganini to his pupil Camillo Sivori is the next step in my
notice. The artistic career of Sivori was a glorious one. Elegance of
style and charming purity of tone were qualities 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 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.
Jean Marie Leclair, the pupil of Somis, is 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. He wrote several sonatas for
Violin and Bass, and 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 Lulli and those of Leclair.
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
twenty-four Studies, Concertos, and Sonatas.
Although there were several Violinists in France of average ability
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 his pupil Rode. 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 Viotti, and Viotti of Rode."
His twenty-four Caprices, and his Concertos and Airs, are much admired
by all Violinists for their elegance and effectiveness. Paganini
played the concertos of Rode publicly upon several occasions; Baillot
and Kreutzer were associated with Rode at the Paris Conservatoire, and
likewise in the compilation of the well-known Instruction Book written
expressly for the use of the pupils at the Conservatoire. Baillot was
famed for his admirable bowing and refined playing. Kreutzer is, of
course, better known from his Forty Studies than from anything else
that he has written. His concertos partake more of the study than of
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.
Francois Antoine Habeneck was a pupil of Baillot at the Paris
Conservatoire, where he distinguished himself, and became a professor.
Among his pupils were Alard, Sainton, and Deldevez.
M. Alard was born in 1815. He succeeded Baillot at the Conservatoire
in 1843, holding the position for many years, and retiring shortly
after the death of his father-in-law, M. Vuillaume. M. Alard was the
master of Sarasate. M. Sainton was born in 1813 at Toulouse. He took
the first prize at the Conservatoire in 1834. He settled in London in
1845. Shortly afterwards he became principal professor of the Violin
at the Royal Academy of Music, and leader under Signor Costa.
It now remains for me to notice the Belgian school. The first to name
is 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 with Variations, and Morceaux de Salon, teeming with novel
effects. It can never be said that De Beriot alarmed the amateurs with
outrageous difficulties; on the contrary, he gave them passages
comparatively easy to execute, full of effect, and yet withal
_astonishing_ to the listener. De Beriot probably made more amateur
Violinists than any composer of his time.
Henri Vieuxtemps was 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.
From Belgium to Poland seems a wide step in my discourse, but it is
really not so. Although the Polish Violinists retain much originality
in their style of playing and compositions, it is to the French school
that they belong. Lipinski, Wieniawski, and Lotto were all educated in
the Paris school.
Lipinski has written a good deal for his instrument, and instructed
many well-known players.
Henri Wieniawski was essentially a great artist. He was a marvellous
Violinist, and displayed great genius as a composer for his
instrument.
Adolphe Pollitzer settled in London many years since, and occupied 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, notwithstanding 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 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" 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_." Such was Lord Chesterfield'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 quartette, 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 textbook 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 degradation, 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 in 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 inquiries 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. Shortly after, with the help of
other benevolently-disposed persons, he 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
pounds. Little did Festing and his supporters dream that their
society, humble enough in 1738, would grow into a society possessing
80,000 pounds in 1874--a sum which, however high-sounding, was
all-insufficient to permit the committee to dispense the amount of
good desired.
Returning again to our subject, we find that in Festing's lifetime
there were several patrons of the art, the chief of whom were the
Prince of Wales, the Duke of Cumberland, and the Earl of Mornington.
Speaking of the Earl, the Hon. Daines Barrington says he "furnishes an
instance of early attention to musical instruments. His father played
well for a gentleman, on the Violin, which always delighted the child
while in his nurse's arms, and long before he could speak." When he
was nine years old, "an old portrait-painter came to the family seat,
who was a very indifferent performer on the Violin, but persuaded the
child that if he tried to play on that instrument, he would soon be
able to bear a part in a concert. With this inducement he soon learned
the two old catches of the 'Christ-Church Bells,' and 'Sing one, two,
three, come follow me;' after which, his father and the painter
accompanying him with the other two parts, he experienced the pleasing
effects of a harmony to which he himself contributed. Soon after this
he was able to play the second Violin in Corelli's sonatas, which gave
him a steadiness in time that never deserted him."
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 deeply 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 1790, it occurred to
him that to invite the famous musician to London would aid his
enterprise. He communicated with Haydn, offering him the sum of fifty
pounds for each concert. These terms were accepted, and Haydn set out
for London, 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 Francois Cramer, to whom severally were 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 Tenterden Street, and became the
principal instructor on the Violin at that institution. Paolo Diana (a
Cremonese known under his adopted name of Spagnoletti) and Kieswetter
each contributed his 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 representative English Violinists have done
much to raise the standard of the public taste. In the year 1835, the
"Concerti da Camera" were established (in imitation of those given in
Paris by Pierre Baillot), and served to extend our knowledge of
classical chamber music. The formation of the Musical Union still
further increased our knowledge and taste in the same direction. The
long roll of celebrated Continental artists introduced at the
Society's concerts sufficiently stamps its character. All that
remained to be done was to make the Quartette popular, and to bring it
within the reach of all. This has been achieved by the indefatigable
labours of Mr. Chappell in his _Monday Popular Concerts_. For some
time the public failed to appreciate Mr. Chappell's scheme, but the
enterprising director, nothing daunted, continued his course, and had
ultimately the gratification of being besieged in his citadel at St.
James's Hall, from the commencement of the season to its close.
Before closing our remarks on the progress of Violin-playing in
England, we have still to mention a few other names in connection with
this subject. Henry C. Cooper was a Violinist who ranked with the
chief representatives of the English Soloists, and during a long
professional career achieved much success. He set on foot, together
with his coadjutors, M. Sainton, Hill, and Signor Piatti, the
Quartette Association, the concerts of which were given at Willis's
Rooms during several seasons. The career of Mr. John Carrodus was
watched by his brother artists 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, in due time came to pass. He achieved 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 a
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 to them three Duets for two
Violins.
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 concertmaster
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 Tartini 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 Hillar tells us that "his tones
were of the finest description, the clearest and most euphonious that
can be imagined." Benda published studies for his instrument, and also
several solos and other works, all of which are admired for their good
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 is
within neither my province nor capacity. As an amateur Violinist and
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-playing, and the marvellous
development that they have received at the hands of many of our
leading Violinists. For this happy state of things we are largely
indebted to 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 thousands 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 soon finds himself encompassed
by a whirlpool of seeming impossibilities, 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 with 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 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. The compositions of Handel materially advanced the Violin. His
Overtures, Trios, Sonatas, and Concertos, were all received with the
utmost attention, and led on to works by later composers, which would
probably have never existed but for Handel's example.
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. The influence of this composer
on the progress of the Violin cannot be over-estimated. The Quartettes
of Haydn are too well known to need more than mention here. The
Quartettes of Giardini and Pugnani were laid aside to give place to
these inspired compositions. The following amusing comparison, drawn
by a lady, between the Quartettes of Haydn and 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 Quartettes 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 throwing some
light on the enjoyment derivable from listening to a Quartette,
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 parts
in his Quartettes.
Leopold Mozart, born in 1719, the father of the illustrious musician,
was a Violinist, and wrote a "Method" for his instrument. He died in
1787.
To the great Mozart Violinists owe much; his compositions for the
instrument raised its standing considerably. It is unnecessary to give
here a detailed list of those 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 Schubert were Violin-players; Haydn and Mendelssohn could take
their Tenor part in a Quartette; and lastly, Beethoven used to amuse
himself with the Double-Bass. Their compositions evidence a practical
knowledge 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 amongst the Violinists. He was born at
Magdeburg, in 1789. His Quartettes are very pleasing compositions;
they are chiefly "Solo Quartettes."
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 to an entirely
different class from those of Viotti, Kreutzer, and others, inasmuch
as Spohr's music is written so as not only to display the beauties of
the instrument, but also to give the noblest specimens of its
orchestration. His Duets for two Violins, his Tenor and Violin Duets
and Quartettes, 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 powers,
both as a performer and a composer for his instrument. His Concertos
are compositions of the highest character, and require for their
rendering a finished artist.
Joseph Mayseder was a Violinist of an order distinct from that of
Spohr or Molique. His style was exceedingly brilliant. Mayseder may
also be said to have created a school of his 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 compositions; his Overtures are also much admired
for their sparkling and dramatic character.
I come now to notice one of the greatest artistes of our time--Herr
Ernst--whose playing was impassioned in the highest degree. He made
the Violin express his innermost thoughts in tones of delicious
tenderness, such 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
compositions.
It now only remains for me to briefly allude to the German artists
each Concert Season makes us familiar with. First and foremost, the
mighty Herr Joachim, a host in himself. His able coadjutor, Herr
Strauss, was justly admired for his intellectual rendering of the
great masters, and the artistic spirit he invariably displayed. Herr
Wilhelmj was 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
[Illustration:
"The Squire, in state, rode on before,
. . . . .
The Trophy-Fiddle, and the case
Leaning on shoulder, like a mace."]
HUDIBRAS AND THE CHAMPION CROWDERO.
The important part played by the renowned Champion Crowdero in
Butler's inimitable satire has never failed to give keen enjoyment to
all lovers of wit and humour. This being so, his exploits should be
doubly appreciated by the votaries of the Fiddle, since it was he who
valiantly defended the cause of Fiddling against the attacks of
Hudibras--
"When civil dudgeon first grew high,
And men fell out, they knew not why;
When hard words, jealousies, and fears
Set folks together by the ears,
And made them fight, like mad or drunk.
. . . . .
Then did Sir Knight abandon dwelling,
And out he rode a-colonelling."
The absurdities into which the genius of Cervantes hurried Don Quixote
and Sancho served to moderate the extravagances of knight-errantry.
The adventures of Hudibras and Ralpho, undertaken to extinguish the
sports and pastimes of the people, aided greatly in staying the hand
of fanaticism, which had suppressed all stage plays and interludes as
"condemned by ancient heathens, and by no means to be tolerated among
professors of the Christian religion."
With Crowdero we are taken back upwards of two centuries in the
history of the Violin; from times wherein it is held in the highest
esteem and admiration, to days when it was regarded with contempt and
ridicule. Crowdero (so called from _crowd_, a Fiddle) was the
fictitious name for one Jackson, a milliner, who lived in the New
Exchange, in the Strand. He had served with the Roundheads, and lost a
leg, which brought him into reduced circumstances, until he was
obliged to Fiddle from one alehouse to another for his existence.
Hudibras--
"On stirrup-side, he gaz'd about
Portending blood, like blazing star,
The beacon of approaching war.
. . . . .
Ralpho rode on, with no less speed
Than Hugo in the forest did;
But far more in returning made,
For now the foe he had survey'd
Rang'd, as to him they did appear,
With van, main battle, wings, and rear.
I' th' head of all this warlike rabble,
Crowdero marched, expert and able.
Instead of trumpet and of drum,
That makes the warrior's stomach come,
Whose noise whets valour sharp, like beer
By thunder turn'd to vinegar;
(For if a trumpet sound, or drum beat,
Who has not a month's mind to combat?)
A squeaking engine he apply'd
Unto his neck on north-east side,[1]
Just where the hangman does dispose,
To special friends, the knot or noose;
For 'tis great grace, when statesmen straight
Dispatch a friend, let others wait.
His warped ear hung o'er the strings,
Which was but souse to chitterlings;[2]
For guts, some write, ere they are sodden,
Are fit for music, or for pudding;[3]
From whence men borrow ev'ry kind
Of minstrelsy, by string or wind.
His grisly beard was long and thick,
With which he strung his Fiddle-stick;
For he to horse-tail scorned to owe
For what on his own chin did grow.
. . . . .
And now the field of death, the lists,
Were enter'd by antagonists,
And blood was ready to be broach'd,
When Hudibras in haste approach'd
With Squire and weapons, to attack 'em;
But first thus from his horse bespoke 'em,
'What rage, O citizens! What fury
Doth you to these dire actions hurry?
. . . . .
In name of King and Parliament
I charge ye all--no more foment.
. . . . .
... first surrender
The Fiddler as the prime offender,
Th' incendiary vile, that is chief
Author and engineer of mischief;
That makes division between friends
For profane and malignant ends.[4]
He and that engine of vile noise
On which illegally he plays,[5]
Shall (_dictum factum_) both be brought
To condign punishment, as they ought.'
. . . . .
This said he clapped his hand on sword,
To show he meant to keep his word.
. . . . .
He drew up all his force into
One body and into one blow.
. . . . .
The Knight, with all its weight, fell down
. . . . .
Like a feather bed betwixt a wall
And heavy brunt of cannon ball.
. . . . .
Crowdero only kept the field,
Not stirring from the place he held;
Though beaten down and wounded sore,
I' th' Fiddle, and a leg that bore
One side of him--not that of bone,
But much its better, th' wooden one.
He spying Hudibras lie strew'd
Upon the ground, like log of wood,
. . . . .
In haste he snatch'd the wooden limb
That, hurt in th' ankle, lay by him,
And, fitting it for sudden fight,
Straight drew it up, t' attack the Knight;
. . . . .
Vowing to be reveng'd, for breach
Of Crowd and skin, upon the wretch,[6]
Sole author of all detriment
He and his Fiddle underwent.
. . . . .
When Ralpho thrust himself between,
He took the blow upon his arm,
To shield the Knight from further harm,
And, joining wrath with force, bestow'd
On th' wooden member such a load,
That down it fell and with it bore
Crowdero, whom it propp'd before.
To him the Squire right nimbly run,
And setting his bold foot upon
His trunk, thus spoke: 'What desp'rate frenzy
Made thee, thou whelp of sin, to fancy
Thyself, and all that coward rabble,
To encounter us in battle able?
How durst th', I say, oppose thy curship
'Gainst, arms, authority, and worship,
And Hudibras or me provoke,
. . . . .
... but first our care
Must see how Hudibras doth fare.'
This said, he gently rais'd the Knight,
. . . . .
To rouse him from lethargic dump,
He tweak'd his nose with gentle thump,
Knock'd on his breast, as if't had been
To raise the spirits lodg'd within;
They, waken'd with the noise, did fly
From inward room to window eye,
And gently op'ning lid, the casement,
Look'd out, but yet with some amazement.
This gladded Ralpho much to see,
Who thus bespoke the Knight; quoth he,
Tweaking his nose, 'You are, great sir,
A self-denying conqueror;
As high, victorious, and great
As e'er fought for the churches yet.
. . . . .
... The foe, for dread
Of your nine-worthiness, is fled;
All, save Crowdero, for whose sake
You did th' espous'd cause undertake;
And he lies pris'ner at your feet,
To be disposed as you think meet,
Either for life, or death, or sale,
The gallows, or perpetual jail;
For one wink of your powerful eye
Must sentence him to live or die;
His Fiddle is your proper purchase,
Won in the service of the Churches;
And by your doom must be allow'd
To be or be no more, a _Crowd_.'
. . . . .
... The Knight began to rouse,
And by degrees grew valorous;
He stared about, and seeing none
Of all his foes remain, but one,
He snatch'd his weapon that lay near him,
And from the ground began to rear him,
Vowing to make Crowdero pay
For all the rest that ran away.
But Ralpho now, in colder blood,
His fury mildly thus withstood.
'Great sir,' quoth he, 'your mighty spirit
Is raised too high; this slave doth merit
To be the hangman's business sooner
Than from your hand to have the honour
Of his destruction; I, that am
A nothingness in deed and name,
Did scorn to hurt his forfeit carcase,
Or ill entreat his Fiddle or case;
. . . . .
Will you employ your conq'ring sword
To break a Fiddle, and your word?
. . . . .
... I think it better far
To keep him prisoner of war.'
. . . . .
He liked the squire's advice, and soon
Resolved to see the business done.
. . . . .
Ralpho dispatched with speedy haste,
And having ty'd Crowdero fast,
He gave Sir Knight the end of cord,
To lead the captive of his sword.
. . . . .
The Squire in state rode on before,
And on his nut-brown whinyard bore
The Trophy-Fiddle, and the case
Leaning on shoulder, like a mace.[7]
The Knight himself did after ride,
Leading Crowdero by his side,
And tow'd him if he lagg'd behind,
Like boat against the tide and wind.
Thus grave and solemn they march on,
Until quite thro' the town th' had gone,
At further end of which there stands
An ancient castle, that commands[8]
Th' adjacent parts; in all the fabric
You shall not see one stone nor a brick
But all of wood, by powerful spell
Of magic made impregnable.
. . . . .
Thither arriv'd, th' advent'rous Knight
And bold Squire from their steeds alight
At th' outward wall, near which there stands
A bastile, built t' imprison hands;
. . . . .
On top of this there is a spire
On which Sir Knight first bids the Squire
The Fiddle, and its spoils, the case,[9]
In manner of a trophy, place.
That done, they ope the trapdoor gate,
And let Crowdero down thereat;
Crowdero making doleful face,
Like hermit poor in pensive place.
To dungeon they the wretch commit,
And the survivor of his feet,
But the other that had broke the peace
And head of knighthood, they release,
Though a delinquent false and forged,
Yet b'ing a stranger, he's enlarged,
While his comrade that did not hurt
Is clapp'd up fast in prison for't;
So Justice, while she winks at crimes,
Stumbles on innocence sometimes."
[Illustration: Spire with Fiddle and case.]
[Footnote 1: Several explanations of this passage have been set forth
by Butler's commentators. Dr. Grey asks, "Why the north-east side? Do
Fiddlers always, or most generally, stand or sit according to the
points of the compass?" Dr. Nash suggests the poet may have had in
view "a conceit," which is in Brown's "Vulgar Errors," viz., that the
body of man is magnetical, and being placed in a boat will never rest
till the head respecteth the north. Dr. Nash remarks, "Now, the body
lying on its back with its head towards the north, or standing upright
with the face towards the east, the reader will find the place of the
Fiddle on the left breast to be due north-east."]
[Footnote 2: Dr. Nash says, "Souse is the pig's ear, and chitterlings
the pig's guts; the former alludes to Crowdero's ear, which lay on the
Fiddle; the latter to the strings of the Fiddle, which are made of
catgut."]
[Footnote 3: Black pudding and sausages are placed in skins of gut.]
[Footnote 4: This passage evidently refers to Violists meeting to make
division to a ground, namely, in the words of Christopher Simpson, "A
ground, subject, or bass (call it which you please) is prickt
(written) down in two several papers, one for him who is to play the
ground (upon an organ, harpsichord, or other instrument), the other
for him who plays upon the Viol, who having the said ground before his
eye (as his theme or subject) plays such variety of descant and
division thereupon as his skill and present invention do then suggest
to him." The poet's allusion to "Th' incendiary vile (Viol) that is
chief author and engineer of mischief" humorously points to the
popularity of the Viol. The poet's mention of persons meeting and
performing on their Viols, thus making
"... division between friends,
For profane and malignant ends,"
is evidently a most humorous allusion to the case of the Royalist, Sir
Roger L'Estrange, the friend of Butler, and to whom was given the
names of the real persons shadowed under fictitious characters in the
satire. Sir Roger, whilst in St. James's Park, heard an Organ being
played in the house of one Mr. Hickson. His intense love of music
prompted him to seek admittance. He found there a company of five or
six persons, and being himself a good Violist, was prevailed upon to
take a part. By-and-by Cromwell entered, without, Sir Roger explains
in a pamphlet ("Truth and Loyalty Vindicated," printed the year before
the first part of Hudibras was published, in 1662), "the least colour
of a design or expectation." Sir Roger went on making division with
his Viol, apparently regardless of the presence of the Protector and
thus earned for himself the title of Oliver's Fiddler, besides giving
rise to the report that he solicited a private conference with
Cromwell under the pretext of "making division" with his Viol. Dr.
Johnson has truly said of Hudibras, "The manners, being founded on
opinions, are temporary and local, and therefore become every day less
intelligible and less striking.... Much, therefore, of that humour
which transported the century with merriment is lost to us, who do not
know the sour solemnity, the sullen superstition, the gloomy
moroseness, and the stubborn scruples of the ancient Puritans, ... and
cannot, but by recollection and study, understand the lines in which
they are satirised. Our grandfathers knew the picture from the life;
we judge of the life by contemplating the picture."]
[Footnote 5: Alluding to an ordinance made in 1658: "And be it further
enacted by the authority aforesaid, that if any person or persons,
commonly called Fiddlers, or minstrels, shall at any time after the
said first day of July (1657) be taken playing, Fiddling, and making
music in any inn, alehouse, or tavern, or shall be taken proffering
themselves, or desiring, or intreating any person or persons to hear
them play, &c., &c., shall be adjudged ... rogues, vagabonds, and
sturdy beggars."]
[Footnote 6: Crowd, a Fiddle, and therefore for injury done by
"breach," or cracks, to Crowdero's instrument.]
[Footnote 7: The Fiddle-case referred to is one covered with leather,
studded with nails, and with a lid opening at the end, and might be
likened unto a mace.]
[Footnote 8: "This is an enigmatical description of a pair of stocks
and whipping-post. It is so pompous and sublime that we are surprised
so noble a structure could be raised from so ludicrous a subject. We
perceive wit and humour in the strongest light in every part of the
description."--_Note by Dr. Grey_.]
[Footnote 9: Dr. Nash suggests the following rendering: "His spoils,
the Fiddle, and the case."]
GEORGE HERBERT'S REFERENCES TO MUSIC.
George Herbert, poet and divine, said of music, "That it did relieve
his drooping spirits, compose his distracted thoughts, and raised his
weary soul so far above earth, that it gave him an earnest of the joys
of heaven before he possessed them." His worthy biographer, Izaak
Walton, tells us--"His chiefest recreation was music, in which
heavenly art he was a most excellent master, and did himself compose
many divine hymns and anthems, which he set and sung to his Lute or
Viol; and though he was a lover of retiredness, yet his love to music
was such that he went usually twice every week, on certain appointed
days, to the Cathedral Church in Salisbury, and at his return would
say, 'That his time spent in prayer and Cathedral music elevated his
soul, and was his heaven upon earth.' But before his return thence to
Bemerton, he would usually sing and play his part at an appointed
private music meeting; and, to justify this practice, he would often
say, 'Religion does not banish mirth, but only moderates and sets
rules to it.'"
In walking to Salisbury upon one occasion to attend his usual music
meeting, George Herbert saw a poor man with a poor horse that was
fallen under his load. He helped the man to unload and re-load; the
poor man blessed him for it, and he blessed the poor man. Upon
reaching his musical friends at Salisbury they were surprised to see
him so soiled and discomposed; but he told them the occasion, and when
one of the company said to him "He had disparaged himself by so dirty
an employment," his answer was, "That the thought of what he had done
would prove music to him at midnight; and that the omission of it
would have upbraided and made discord in his conscience whenever he
should pass by that place; 'for if I be bound to pray for all that be
in distress, I am sure that I am bound, so far as it is in my power,
to practise what I pray for; and though I do not wish for the like
occasion every day, yet let me tell you, I would not willingly pass
one day of my life without comforting a sad soul, or showing mercy;
and I praise God for this occasion; and now let us tune our
instruments.'"
Herbert's love of imagery was often curious and startling. In singing
of "Easter" he said--
"Awake my lute and struggle for thy part
With all thy heart.
The Cross taught all wood to resound His name,
Who bore the same.
His stretched sinews taught all strings, what key
Is best to celebrate this most high day,
Consort both heart and lute, and twist a song
Pleasant and long:
Or since all music is but three parts vied
And multiplied,
O let thy blessed spirit bear a part,
And make up our defects with his sweet art."
The Sunday before the death of "Holy George Herbert," Izaak Walton
says, "he rose suddenly from his bed, or couch, called for one of his
instruments, took it into his hand and said--
"My God, my God, my music shall find Thee;
And every string
Shall have his attribute to sing."
And having tuned it, he played and sung--
"The Sundays of man's life,
Threaded together on Time's string,
Make bracelets to adorn the wife
Of the eternal, glorious King;
On Sundays heaven's door stands ope,
Blessings are plentiful and ripe,
More plentiful than hope."
The thought to which Herbert has given expression in his lines on
Easter--that "All music is but three parts vied and multiplied"--was
also in the mind of Christopher Simpson, who, in his work on "The
Division Viol," 1659, uses it as a musical illustration of the
doctrine of Trinity in Unity. He says: "I cannot but wonder, even to
amazement, that from no more than three concords (with some
intervening discords) there should arise such an infinite variety, as
all the music that ever has been, or ever shall be, composed. When I
further consider that these 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 be joined
together in musical concordance, _that_, I cannot but think a
significant 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."
It is interesting to notice an earlier and remarkable allusion to the
union of sound from the pen of Shakespeare--
"If the true concord of well-tuned sounds,
By unions married, do offend thine ear,
They do but sweetly chide thee, who confounds
In singleness the parts that thou shouldst bear.
Mark how one string, sweet husband to another,
Strikes each in each by mutual ordering,
Resembling sire and child and happy mother,
Who, all in one, one pleasing note do sing."
VIOLINS FROM A MEDICAL POINT OF VIEW.
"Music and the sounds of instruments--says the lively Vigneul 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 the
story of a person of distinction, who assured him that once being
suddenly seized by violent illness, instead of a consultation of
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_."
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 Bicetre, 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 contact 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_."
"A MUSICIAN
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 in 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 _Kit_-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 unmercifully.
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 anything 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. His Viol has the effect of a _Scotch_ Fiddle,
for it irritates his 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 and the minority in the course
of a few minutes. He runs over the _flat_ as often as any Newmarket
racehorse; 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."
The following interesting account of this marvellous composition was
given by Tartini to M. de Lalande, the celebrated astronomer:--
"One night in the year 1713, 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 desire, 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
instrument. 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. So great was my
amazement that I could scarcely breathe. 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 of 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 which I derive from it."
[Illustration: The Devil Playing for Tartini.]
In the "Reminiscences of Michael Kelly" we are told that in the year
1779 Kelly was at Florence, and that he was present at a concert given
at the residence of Lord Cowper, where, he says, he had "the
gratification of hearing a sonata on the Violin played by the great
Nardini; though very far advanced in years, he played divinely. Lord
Cowper requested him to play the popular sonata, composed by his
master, Tartini, called the 'Devil's Sonata.' Mr. Jackson, an English
gentleman present, asked Nardini whether the anecdote relative to this
piece of music was true. Nardini answered that 'he had frequently
heard Tartini relate the circumstance,' and at once gave an account of
the composition, in accordance with that furnished by M. de Lalande."
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 insensible to the power of music. I told him
that it affected me to such a degree, as often to agitate my nerves
painfully, producing 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.'"--_Boswell'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 nothing, 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 something 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 Fiddlestick, and he can do nothing.'"--_Boswell's_ "_Life of
Johnson_."
DR. JOHNSON'S EPITAPH ON PHILLIPS, 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:--
"Phillips, 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 gav'st so oft before;
Sleep undisturbed within this peaceful shrine,
Till angels wake thee with a note like thine!"
Boswell says, "Mr. Garrick appears not to have recited the verses
correctly, the original being as follows. One of the various readings
is remarkable, and it is the germ of Johnson's concluding line:--
"Exalted soul, thy various sounds could please
The love-sick virgin, and the gouty ease;
Could jarring _crowds_, like old Amphion, move
To beauteous order and harmonious love;
Rest here in peace, till angels bid thee rise,
And meet thy Saviour's _concert_ in the skies."
Boswell's "Journal of a Tour to the Hebrides" contains the author's
letter to Garrick asking him to send the "bad verses which led Johnson
to make his fine verses on Phillips the musician." Garrick replied,
enclosing the desired epitaph.
Boswell remarks, "This epitaph is so exquisitely beautiful that I
remember even Lord Kames, strangely prejudiced as he was against Dr.
Johnson, was compelled to allow it very high praise. It has been
ascribed to Garrick, from its appearing at first with the signature
G.; but I heard Mr. Garrick declare that it was written by Dr.
Johnson."
The epitaph of Phillips is in the porch of Wolverhampton Church. The
prose part of it is curious:--
Near this place lies
Charles Claudius Phillips,
Whose absolute contempt of riches,
and inimitable performances upon 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.
DR. JOHNSON'S KNOWLEDGE OF MUSIC.
He said he knew "a drum from a trumpet, and a bagpipe from a guitar,
which was about the extent of his knowledge of music." He further
tells us that "if he had learnt music he should have been afraid he
should have done nothing else but play. It was a method of employing
the mind, without the labour of thinking at all, and with some
applause from a man's self." These remarks are better appraised and
understood when we bear in mind Dr. Johnson's own estimate of his
musical knowledge together with his having derived pleasure from
listening to the sounds of the bagpipes. If a performance on those
droning instruments was in the Doctor's mind when he said that the
reflective powers need not be exercised in performing on a musical
instrument, there might be some truth in the observation. The labour
of thinking, however, cannot be dispensed with in connection with
playing most musical instruments, and least of all the Violin.
DR. JOHNSON ON FIDDLING AND FREE WILL.
"_Johnson_: 'Moral evil is occasioned by free will, which implies
choice between good and evil. With all the evil that there is, there
is no man but would rather be a free agent, than a mere machine
without the evil; and what is best for each individual must be best
for the whole. If a man would rather be the machine, I cannot argue
with him. He is a different being from me.'
"_Boswell_: 'A man, as a machine, may have agreeable sensations; for
instance, he may have pleasure in music.'
"_Johnson_: 'No, sir, he cannot have pleasure in music; at least no
power of producing music; for he who can produce music may let it
alone; he who can play upon a Fiddle may break it: such a man is not a
machine.'"--"_Tour to the Hebrides_."
HAYDN IN LONDON.--A "SWEET STRADIVARI."
(BY PERMISSION OF MR. JOHN MURRAY.)
The following extracts, taken from "A Country Clergyman of the
Eighteenth Century," a pleasant and entertaining book (consisting of
selections from the correspondence of the Rev. Thomas Twining, M.A.),
cannot fail to interest the reader. The Rev. Thomas Twining was born
in 1735. He was an excellent musician, both in theory and practice,
and a lover of the Violin. He had collected much valuable information
with regard to music, with a view to writing a history of the subject.
Upon learning that Dr. Burney was engaged on his History of Music, he
not only generously placed his valuable notes at the service of the
Doctor, but revised the manuscript of his friend's History. Dr.
Burney, in the preface of his work, says: "In order to satisfy the
sentiments of friendship, as well as those of gratitude, I must
publicly acknowledge my obligations to the zeal, intelligence, taste,
and erudition of the Rev. Mr. Twining, a gentleman whose least merit
is being perfectly acquainted with every branch of theoretical and
practical music."
The publication of the volume containing the interesting
correspondence between Dr. Burney and his friend not only serves to
enlighten us relative to the substantial aid given to our musical
historian, but also makes us acquainted with an English eighteenth
century amateur and votary of the Fiddle of singular ability and rare
humility:--
"COLCHESTER, _February_ 15, 1791.
"To DR. BURNEY,--
"... And now, my dear friend, let's draw our stools together, and have
some fun. Is it possible we can help talking of Haydn first? How do
you like him? What does he say? What does he do? What does he play
upon? How does he play?... The papers say he has been bowed to by
whole orchestras when he has appeared at the play-houses. Is he about
anything in the way of composition? Come, come! I'll pester you no
more with interrogations; but trust to your generosity to gratify my
ardent curiosity in your own way. I have just--and I am ashamed to say
but just--sent for his 'Stabat Mater.' Fisin[10] told me some
quartetts had, not long ago, been published by him. He has written so
much that I cannot help fearing he will soon have written himself dry.
If the resources of any human composer could be inexhaustible, I
should suppose Haydn's would; but as, after all, he is but mortal, I
am afraid he must soon get to the bottom of his genius-box. My friend
Mr. Tindal is come to settle (for the present at least) in this
neighbourhood. He is going to succeed me in the curacy of Fordham. He
plays the Fiddle well, the Harpsichord well, the Violoncello well.
Now, sir, when I say 'well,' I can't be supposed to mean the wellness
that one should predicate of a professor who makes the instrument his
study; but that he plays in a very ungentlemanlike manner, exactly in
time and tune, with taste, accent, and meaning, and the true sense of
what he plays; and, upon the Violoncello, he has execution sufficient
to play Boccherini's quintettos, at least what may be called very
decently. But ask Fisin, he will tell you about our Fiddling, and
vouch for our decency at least. I saw in one of the public prints an
insinuation that Haydn, upon his arrival in London, had detected some
forgeries, some things published in his name that were not done by
him. Is that true? It does not seem very unlikely."
[Footnote 10: James Fisin was born in Colchester; was intimate with
Dr. Burney, and well known as a Professor of Music.]
. . . . .
Haydn left Vienna December 15, 1790, and arrived with Salomon in
London on New Year's Day, 1791. The Rev. Thomas Twining's
interrogations addressed to Dr. Burney respecting him were therefore
made but a few weeks after Haydn's first arrival in England. Between
the months of January and May much had been seen and heard of Haydn,
information of which Dr. Burney gave to his friend, as seen in the
following letter:--
"COLCHESTER, _May_ 4, 1791.
"To DR. BURNEY,--
"How good it was of you to gratify me with another canto of the
'Haydniad'! It is all most interesting to me. I don't know
anything--any musical thing--that would delight me so much as to meet
him in a snug quartett party, and hear his manner of playing his own
music. If you can bring about such a thing while I am in town, either
at Chelsea, or at Mr. Burney's, or at Mr. Salomon's, or I care not
where--if it were even in the Black Hole at Calcutta (if it is a good
hole for music)--I say, if by hook or crook you could manage such a
thing, you should be my Magnus Apollo for the rest of your life. I
mention Salomon because we are a little acquainted. He has twice asked
me to call upon him, and I certainly will do it when I come to town. I
want to hear more of his playing; and I seem, from the little I have
seen of him, to like the man. I know not how it is, but I really
receive more musical pleasure from such private _cameranious_
Fiddlings and singings, and keyed instrument playings, than from all
the _appret_ of public and crowded performances.
"I have lately had a sort of Fiddle mania upon me, brought on by
trying and comparing different Stainers and Cremonas, &c. I believe I
have got possession of a sweet Stradivari, which I play upon with much
more pleasure than my Stainer, partly because the tone is sweeter,
mellower, rounder, and partly because the stop is longer. My Stainer
is undersized, and on that account less valuable, though the tone is
as bright, piercing, and full, as of any Stainer I ever heard. Yet,
when I take it up after the Stradivari it sets my teeth on edge. The
tone comes out plump, all at once. There is a comfortable reserve of
tone in the Stradivari, and it bears pressure; and you may draw upon
it for almost as much tone as you please. I think I shall bring it to
town with me, and then you shall hear it. 'Tis a battered, shattered,
cracky, resinous old blackguard; but if every bow that ever crossed
its strings from its birth had been sugared instead of resined, more
sweetness could not come out of its belly. Addio, and ever pardon my
sins of infirmity.
"Yours truly,
"T. T."
GAINSBOROUGH AS A MUSICIAN.
William Jackson, organist of Exeter Cathedral, was intimate with
Gainsborough, and besides being a thorough musician, painted with
ability. He was also the author of many essays. In one of these he
makes us acquainted with the character of Gainsborough's musical
abilities. He says, "In the early part of my life I became acquainted
with Thomas Gainsborough, the painter, and as his character was
perhaps better known to me than to any other person, I will endeavour
to divest myself of every partiality, and speak of him as he really
was. Gainsborough's profession was painting, and music was his
amusement--yet, there were times when music seemed to be his
employment, and painting his diversion.
"When I first knew him he lived at Bath, where Giardini had been
exhibiting his then unrivalled powers on the Violin. His excellent
performance made Gainsborough enamoured of that instrument; and
conceiving, like the servant-maid in the _Spectator_, that the music
lay in the Fiddle, he was frantic until he possessed the very
instrument which had given him so much pleasure--but seemed much
surprised that the music of it remained behind with Giardini. He had
scarcely recovered this shock (for it was a great one to _him_) when
he heard Abel on the Viol da Gamba. The Violin was hung on the willow;
Abel's Viol da Gamba was purchased, and the house resounded with
melodious thirds and fifths from 'morn to dewy eve!' Many an Adagio
and many a Minuet were begun, but none completed; this was wonderful,
as it was Abel's _own_ instrument, and, therefore, _ought_ to have
produced Abel's own music!
"Fortunately my friend's passion had now a fresh object--Fischer's
Hautboy[11]--but I do not recollect that he deprived Fischer of his
instrument; and though he procured a Hautboy, I never heard him make
the least attempt on it. The next time I saw Gainsborough it was in
the character of King David. He had heard a Harper at Bath--the
performer was soon Harpless--and now Fischer, Abel, and Giardini were
all forgotten--there was nothing like chords and arpeggios! He really
stuck to the Harp long enough to play several airs with variations,
and would nearly have exhausted all the pieces usually performed on an
instrument incapable of modulation (this was not a pedal Harp), when
another visit from Abel brought him back to the Viol da Gamba. He now
saw the imperfection of sudden sounds that instantly die away--if you
wanted staccato, it was to be had by a proper management of the bow,
and you might also have notes as long as you please. The Viol da Gamba
is the only instrument, and Abel the prince of musicians! This, and
occasionally a little flirtation with the Fiddle, continued some
years; when, as ill-luck would have it, he heard Crosdill, but by some
irregularity of conduct he neither took up nor bought the Violoncello.
All his passion for the Bass was vented in descriptions of Crosdill's
tone and bowing."
[Footnote 11: Fischer was a celebrated Oboe-player. He made his first
appearance in London in 1768. Gainsborough painted two portraits of
him, one of which is at Hampton Court.]
Gainsborough's fondness for fresh instruments is alluded to by Philip
Thicknesse, who says that during his residence at Bath, Gainsborough
offered him one hundred guineas for a Viol da Gamba, dated 1612. His
offer was declined, but it was ultimately agreed that he should paint
a full-length portrait of Mr. Thicknesse for the Viol da Gamba.
Gainsborough was delighted with the arrangement, and said "Keep me
hungry; keep me hungry! and do not send the instrument until I have
finished the picture." The Viol da Gamba was, however, sent the next
morning, and the same day the artist stretched a canvas. He received a
sitting, finished the head, rubbed in the dead colouring, &c., and
then it was laid aside--no more was said of it or done to it, and he
eventually returned the Viol da Gamba.
Jackson tells us that Gainsborough "disliked singing, particularly in
parts. He detested reading; but was so like Sterne in his letters,
that, if it were not for an originality that could be copied from no
one, it might be supposed that he had formed his style upon a close
imitation of that author. He had as much pleasure in looking at a
Violin as in hearing it. I have seen him for many minutes surveying,
in silence, the perfections of an instrument, from the just proportion
of the model and beauty of workmanship. His conversation was
sprightly; his favourite subjects were music and painting, which he
treated in a manner peculiarly his own. He died with this
expression--'We are all going to heaven, and Vandyke is of the
party.'"
GARRICK AND CERVETTO.
Cervetto, the famous Violoncello-player, occupied the post of
principal Violoncello at Drury Lane for many years. His fame as a
performer was almost matched by the celebrity of his nasal organ, the
tuberosity of which often caused the audience in the gallery to
exclaim, "Play up, Nosey!" In Dibdin's "Musical Tour," 1788, we are
told that "When Garrick returned from Italy, he prepared an address to
the audience, which he delivered previous to the play he first
appeared in. When he came upon the stage he was welcomed with three
loud plaudits, each finishing with a huzza. As soon as this
unprecedented applause had subsided, he used every art, of which he
was so completely master, to lull the tumult into a profound silence;
and just as all was hushed as death, and anxious expectation sat on
every face, old Cervetto, who was better known by the name of 'Nosey,'
anticipated the very first line of the address by--aw----a tremendous
yawn. A convulsion of laughter ensued, and it was some minutes before
the wished-for silence could be again restored. That, however,
obtained, Garrick delivered his address in that happy, irresistible
manner in which he was always sure to captivate his audience; and he
retired with applause, such as was never better given, nor ever more
deserved. But the matter did not rest here; the moment he came off the
stage, he flew like lightning to the music-room, where he encountered
Cervetto, and began to abuse him vociferously. 'Wha--why--you old
scoundrel. You must be the most----' At length poor Cervetto said,
'Oh, Mr. Garrick! vat is the matter--vat I haf do? Oh! vat is it?'
'The matter! Why you senseless idiot--with no more brains than your
Bass-Viol--just at the--a--very moment I had played with the
audience--tickled them like a trout, and brought them to the most
accommodating silence--so pat to my purpose--so perfect--that it was,
as one may say, a companion for Milton's visible darkness.' 'Indeed,
Mr. Garrick, it vas no darkness.' 'Darkness! stupid fool--but how
should a man of my reading make himself understood by--a---- Answer
me--was not the house very still?' 'Yes, sir, indeed--still as a
mouse.' 'Well, then, just at that very moment did you not--with your
jaws extended wide enough to swallow a sixpenny loaf--yawn?' 'Sare,
Mr. Garrick--only if you please hear me von vord. It is alvay the
vay--it is, indeed, Mr. Garrick--alvay the vay I go ven I haf the
greatest _rapture_, Mr. Garrick.' The little great man's anger
instantly cooled. The readiness of this Italian flattery operated
exactly contrary to the last line of an epigram--the honey was tasted,
and the sting forgot."
THE KING AND THE PLAYER.
George the Third was frequently at Weymouth, and often strolled about
the town unattended. On the day of Elliston's benefit (at which His
Majesty had expressed his intention of being present) he had been
enjoying one of his afternoon wanderings, when a shower of rain came
on. Happening to be passing the theatre door, in he went. Finding no
one about, he entered the Royal box, and seated himself in his chair.
The dim daylight of the theatre and slight fatigue occasioned by his
walk, induced drowsiness: His Majesty, in fact, fell into a doze,
which ultimately resolved itself into a sound sleep. In the meantime
Lord Townsend met Elliston, of whom he inquired if he had seen the
King, as His Majesty had not been at the palace since his three
o'clock dinner, it being then nearly five. Elliston being unable to
give his lordship any information, Lord Townsend sought His Majesty in
another direction, and the comedian made his way to the theatre, in
order to superintend the necessary arrangements for the reception of
his Royal patrons. Upon reaching the theatre, Elliston went at once to
the King's box, and seeing a man fast asleep in His Majesty's chair,
was about recalling him to his senses somewhat roughly, when, happily,
he discovered who it was that had so unexpectedly taken possession of
the Royal chair. What was to be done? Elliston could not presume to
wake His Majesty--to approach him--speak to him--touch
him--impossible! and yet something was necessary to be done, as it was
time to light the theatre, and, what was of still more importance, to
relieve the anxiety of the Queen and family. Elliston hit on the
following expedient: Taking up a Violin from the orchestra he stepped
into the pit, and placing himself beneath his exalted guest, struck up
_dolcemente_--
[Illustration: God save our no-ble King! Long live our gra-cious
King!]
The expedient produced the desired effect. The sleeper was loosened
from the spell which bound him. Awakened, His Majesty stared at the
comedian full in the face, ejaculated, "Hey, hey, hey!--what,
what--oh, yes! I see--Elliston--ha, ha! Rain came on--took a
seat--took a nap. What's o'clock?" "Nearly six, your Majesty." "Say
I'm here. Stay, stay! This wig won't do--eh, eh! Don't keep the people
waiting--light up; light up; let them in--fast asleep. Play well
to-night, Elliston." The theatre was illuminated; messengers were
despatched to the Royal party, which, having arrived in due course,
Elliston quitted the side of the affable Monarch, and prepared himself
for his part in the performance.
SIR WALTER SCOTT ON MUSIC AND FIDDLES.
"I do not know and cannot utter," said Sir Walter, "a note of music;
and complicated harmony seems to me a babble of confused, though
pleasing sounds; yet simple melodies, especially if connected with
words and ideas, have as much effect on me as on most people. I cannot
bear a voice that has no more life in it than a pianoforte or
bugle-horn. There is in almost all the fine arts a something of soul
and spirit, which, like the vital principle in man, defies the
research of the most critical anatomist. You feel where it is not, yet
you cannot describe what it is you want." Sir Joshua, or some other
great painter, was looking at a picture on which much pains had been
bestowed. "Why--yes," he said, in a hesitating manner; "it is very
clever--very well done. Can't find fault, but it wants something--it
wants--it wants--d--n me, it wants that!" throwing his hand over his
head, and snapping his fingers. In talking of his ignorance of music,
Scott said he had once been employed in a case where a purchaser of a
Fiddle had been imposed on as to its value. He found it necessary to
prepare himself by reading all about Fiddles in the encyclopaedias,
&c., and having got the names of Stradivari, Amati, &c., glibly on his
tongue, got swimmingly through his case. Not long after this, dining
at the Duke of Hamilton's, he found himself left alone after dinner
with the Duke, who had but two subjects he could talk of--hunting and
music. Having exhausted hunting, Scott thought he would bring forward
his lately acquired learning in Fiddles, upon which the Duke grew
quite animated, and immediately whispered some orders to the butler,
in consequence of which there soon entered the room about half-a-dozen
tall servants, all in red, each bearing a Fiddle case, and Scott found
his knowledge brought to no less a test than that of telling by the
tones of each Fiddle, as the Duke played it, by what artist it was
made. "By guessing and management," said he, "I got on pretty well,
till we were, to my great relief, summoned to coffee."[12]
[Footnote 12: Lockhart's "Life of Sir Walter Scott."]
I have frequently heard of the Duke's passion for Violins, and also
that he had a great number of them at Hamilton Palace. Among these
instruments there appears to have been a singularly perfect Tenor by
the brothers Amati. Signor Piatti has often spoken to me of having
seen this instrument several years since in the possession of the
family. The Hamilton collection of Fiddles was doubtless dispersed
long before the rare MSS., the Beckford Library, the inlaid cabinets,
and other treasures which served to make Hamilton Palace renowned
throughout the world of art and letters.
Returning to the subject of Sir Walter Scott's references to music, it
will be seen that his barristers possess among their gentlemanly
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 accompaniment upon
the harpsichord?
A CINDERELLA VIOLONCELLO.
A somewhat curious change in the ownership of a Violoncello occurred
many years since. My father (Mr. John Hart) was walking along 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 coat
of resin and dirt, but its author was clearly defined nevertheless.
When the players had concluded their performance, Mr. Hart asked the
wandering Violoncellist if he was disposed to sell his 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.
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 exalted player in _one_ day.
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 impregnable, 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 instruments, and notably that of the fine
Stradivari which belonged to a well-known amateur, an attache 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; it was a magnificent Violin, date 1709, in the
highest state of preservation. 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
locking it. The next day he was amusing himself with a parrot, which
bit him on the lip; the wound appeared very unimportant, but exposure
to the cold brought on malignant abscess, and he sank and died. In due
course his representatives arrived in St. Petersburg, and took charge
of his property, which was brought to England. Some twelve months
afterwards a relative (Mr. Andrew Fountaine, of Narford), who took
much interest in valuable Violins, was visiting the family of the
deceased gentleman and asked to be allowed to see the Stradivari,
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 wrong case had been brought, the instrument he held
having no resemblance whatever to the Stradivari, and not being worth
a sovereign. Inquiries were set on foot, and it was satisfactorily
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 Stradivari 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 Stradivari?" 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.
THE MISSING SCROLL.
It has 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 Stradivari 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 fraternity 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 operation 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 Stradivari 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 his 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
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 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-head. The
healer of Violins, taking it into his hands, was agreeably astonished
to recognise in it the missing headpiece, 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
AEsculapius, 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 multiplied, 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 portion 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 Mr.
James Goding, was a Stradivari Violin, dated 1710, which had been
deprived of its original scroll, and bore a supposititious figure-head
by David Tecchler, 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 headpiece, 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 Stradivari, date 1710.
At the dispersion of Mr. Goding's collection by Messrs. Christie and
Manson, in the year 1857, a well-known amateur purchased the Violin
for the sum of seventy 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 Stradivari scroll, that he might make
his instrument complete. The mongrel Violin described above being in
my possession, decapitation was duly performed, and the Stradivari
received 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 Stradivari, date 1710, from the Goding
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 cannonading failed to
interrupt him in his pleasurable pursuit; he fiddled on, regardless of
all about him, as Nero is said to have done when his capital was in
flames, and even left the window of his apartment 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
corresponding 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 that a drowning man will clutch at a straw; the truth of
the remark applies to the half-informed in Fiddle connoisseurship. 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 backs 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 Stradivari, because the pegs are wrong!"
The purfling also forms an important item in the 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 pronounced 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 himself in the _inner consciousness_ of a Fiddle.
Measurement is another certain guiding point with these dabblers; the
measuring tape is produced and the instrument condemned if it does not
tally with their erroneous theory.
"GUARNERI" AT A DISCOUNT.
With what tenacity do persons often cling to the fond belief that
undoubted Raffaeles, Cinque Cento bronzes, dainty bits of Josiah
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 near the object. He enters the establishment, and asks to be
allowed to look at an article quite different from 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 to 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 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, very far 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 instrument-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 pounds, 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 from 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 poised on his knee, somewhat after the manner seen in the
well-known picture of Stradivari 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. Convinced 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 me a visit. Upon his opening the 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 Giuseppe Guarneri, of considerable value. He then
recounted the circumstances attending its purchase, with which the
reader is familiar.
DOMENICO DRAGONETTI--HIS GASPARO DA SALO.
Signor Dragonetti succeeded Berini as _primo basso_ in the orchestra
of the chapel belonging to the monastery of San Marco, Venice, in his
eighteenth year. The procurators of the monastery, wishing to show
their high appreciation of his worth, presented the youthful player
with a magnificent Contra-Bass, by Gasparo da 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. Unable to
find repose while 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, Domenico Dragonetti, immersed in the
performance of some gigantic passage, of a range extending from the
nut to the bridge, on his newly-acquired Gasparo. The monks stood
regarding the performer 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-Basso 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 pounds, to use an
auctioneer's phrase, "having been offered in two places," and
respectfully declined. In his youthful days he decided that his
cherished Gasparo 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 instrument 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.
Being desirous of furnishing the reader with all the information
possible relative to Signor 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 following particulars, which are
interesting:--
"BRIGHTON, _July_ 2, 1875.
"MY 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 Signor Dragonetti, having known him well from 1796
to his death.
"His celebrated Gasparo da Salo instrument, or Contra-Basso, was left
by his will to the Fabbricieri (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 on in Orchestra No. 1, there having been two bands for
which music had been composed expressly.
"In April, 1875, being again in Venice, I inquired 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 Fabbricieri 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,
"SAMUEL APPLEBY.
"Mr. Hart."
THE BETTS STRADIVARI.
The Bibliophile tells us of Caxton, Aldine, and Baskerville editions
having been exposed for sale by itinerant booksellers, 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 Bibliophile. 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 Stradivari 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. Doubtless its owner believed he was
selling a brand-new copy, instead of a "Stradivari" made in 1704, in a
state of perfection. Frequently importuned to sell the instrument, Mr.
Betts persistently declined, though it is recorded in Sandys and
Foster'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. Betts it passed to his family, who for
years retained possession of it.
About the year 1858 it became the property of M. Vuillaume, of Paris,
from whom it was purchased by M. Wilmotte, of Antwerp. Several years
later it passed to Mr. C. G. Meier, 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 following
interesting particulars from the pen of the late Charles Reade, the
novelist and lover of Fiddles:--
"THE BETTS STRADIVARI.
"_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 late purchaser. M. Vuillaume,
who could not speak English, was always assisted in his London
purchases by the late John Lott, an excellent workman, and a good
judge of old Violins.[13] 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. Lott'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 Stradivari 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 worn down. As far as the work goes, you may
know from this instrument how a brand-new Stradivari 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,
"CHARLES READE.
"19, ALBERT GATE, _May 9, 1878_."
[Footnote 13: The hero of Mr. Read's "Jack of All Trades, a
Matter-of-fact Romance."]
LEIGH HUNT ON PAGANINI.
"'I projected,' says Leigh Hunt, 'a poem to be called "A Day with the
Reader." I proposed to invite the reader to breakfast, 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 passing thought,
With finest change (might I but half as well
So write!) the pale magician of the bow," &c.
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 farmyard (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 conqueror. The phrase of _smiting_ the
chord--
"He _smote_; and clinging to the serious chords
With godlike ravishment," &c.
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 time he
struck a note, seemed literally to _strike_ it--to give it a blow. The
house was so crammed, that being among the squeezers in the
standing-room at the side of the pit, I happened to catch the first
glance of his face through the arm 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 the instrument at
his chin, just going to commence, and looking exactly as I have
described him.
"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 yearned with no diviner soul,
To the first burthen of the lips of Jove.
Th' exceeding mystery of the loveliness
Sadden'd delight; and with his mournful look
Dreary and gaunt, hanging his pallid face
'Twixt his dark flowing locks, he almost seemed
Too feeble, or, to melancholy eyes,
One that has parted with his soul for pride,
And in the sable secret lived forlorn."
"'To show the depth and identicalness of the impression which he made
upon everybody, foreign or native, an Italian who stood near me said
to himself, after a sigh, "O Dio!" and this had not been said long
when another person, in the same manner, 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
verse, 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 sound should float away; that is one of the heralds of
the morning, flying southward. Then another should issue from the
eastern gates; and now the grand _reveille_ should grow, sweep past
your ears (like the wind aforesaid), 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 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, however, 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 ecstasy 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 a 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 without End_."
ADDISON ON THE PERSONIFICATION OF THE LEADING INSTRUMENT.
In the pages of the _Tatler_ (April, 1710), Addison with much
ingenuity and humour personifies certain musical instruments. He says:
"I have often imagined to myself that different talents in discourse
might be shadowed out after the same manner by different kinds of
music; and that the several conversable parts of mankind in this great
city might be cast into proper characters and divisions, as they
resemble several instruments that are in use among the masters of
harmony. Of these, therefore, in their order; and first of the Drum.
"Your Drums are the blusterers in conversation, that with a loud
laugh, unnatural mirth, and a torrent of noise, domineer in public
assemblies; overbear men of sense; stun their companions; and fill the
place they are in with a rattling sound, that hath seldom any wit,
humour, or good breeding in it. I need not observe that the emptiness
of the Drum very much contributes to its noise.
"The Lute is a character directly opposite to the Drum, that sounds
very finely by itself. A Lute is seldom heard in a company of more
than five, whereas a Drum will show itself to advantage in an assembly
of five hundred. The Lutenists, therefore, are men of a fine genius,
uncommon reflection, great affability, and esteemed chiefly by persons
of a good taste, who are the only proper judges of so delightful and
soft a melody.
"Violins are the lively, forward, importunate wits, that distinguish
themselves by the flourishes of imagination, sharpness of repartee,
glances of satire, and bear away the upper part in every _consort_. I
cannot but observe, that when a man is not disposed to hear music,
there is not a more disagreeable sound in harmony than that of a
Violin.
"There is another musical instrument, which is more frequent in this
nation than any other; I mean your Bass-Viol, which grumbles in the
bottom of the _consort_, and with a surly masculine sound strengthens
the harmony and tempers the sweetness of the several instruments that
play along with it. The Bass-Viol is an instrument of a quite
different nature to the Trumpet, and may signify men of rough sense
and unpolished parts, who do not love to hear themselves talk, but
sometimes break out with an agreeable bluntness, unexpected wit, and
surly pleasantries, to the no small diversion of their friends and
companions. In short, I look upon every sensible, true-born Briton to
be naturally a Bass-Viol."
WASHINGTON IRVING ON REALISTIC MUSIC AND THE VIOLIN.
"_Demi-Semiquaver to Launcelot Langstaff, Esq._
"SIR,--I felt myself hurt and offended by Mr. Evergreen's terrible
philippic against modern music in No. 11 of your work, and was under
serious apprehension that his strictures might bring the art, which I
have the honour to profess, into contempt. So far, sir, from agreeing
with Mr. Evergreen in thinking that all modern music is but the mere
dregs and drainings of the ancient, I trust before this letter is
concluded I shall convince you and him that some of the late
professors of this enchanting art have completely distanced the paltry
efforts of the ancients; and that I, in particular, have at length
brought it almost to absolute perfection.
"The Greeks, simple souls, were astonished at the powers of Orpheus,
who made the woods and rocks dance to his lyre--of Amphion, who
converted crotchets into bricks, and quavers into mortar--and of
Arion, who won upon the compassion of the fishes. In the fervency of
admiration, their poets fabled that Apollo had lent them his lyre, and
inspired them with his own spirit of harmony. What then would they
have said had they witnessed the wonderful effects of my skill?--had
they heard me, in the compass of a single piece, describe in glowing
notes one of the most sublime operations of nature, and not only make
inanimate objects dance, but even speak; and not only speak, but speak
in strains of exquisite harmony?
"I think, sir, I may venture to say there is not a sound in the whole
compass of nature which I cannot imitate, and even improve upon;--nay,
what I consider the perfection of my art, I have discovered a method
of expressing, in the most striking manner, that indefinable,
indescribable silence which accompanies the falling of snow."
[Our author describes in detail the different movements of a grand
piece, which he names the "Breaking up of the ice in the North River,"
and tells us that the "ice running against Polopay's Island with a
terrible crash," is represented by a fierce fellow travelling with his
Fiddle-stick over a huge Bass-Viol at the rate of 150 bars a minute,
and tearing the music to rags--this being what is called execution.]
"Thus, sir, you perceive what wonderful powers of expression have
hitherto been locked up in this enchanting art. A whole history is
here told without the aid of speech or writing; and provided the
hearer is in the least acquainted with music, he cannot mistake a
single note. As to the blowing up of the powder-bank, I look upon it
as a _chef d'oeuvre_ which I am confident will delight all modern
amateurs, who very properly estimate music in proportion to the noise
it makes, and delight in thundering cannon and earthquakes.
"In my warm anticipations of future improvement, I have sometimes
almost convinced myself that music will in time be brought to such a
climax of perfection as to supersede the necessity of speech and
writing, and every kind of social intercourse be conducted by the
Flute and Fiddle. The immense benefits that will result from this
improvement, must be plain to every man of the least consideration. In
the present unhappy situation of mortals a man has but one way of
making himself understood: if he loses his speech he must inevitably
be dumb all the rest of his life; but having once learned this new
musical language, the loss of speech will be a mere trifle, not worth
a moment's uneasiness. This manner of discussing may also, I think, be
introduced with great effect into our National Assemblies, where every
man, instead of wagging his tongue, should be obliged to flourish a
Fiddle-stick; by which means, if he said nothing to the purpose, he
would at all events 'discourse most eloquent music,' which is more
than can be said of them at present.
"But the most important result of this discovery is, that it may be
applied to the establishment of that great desideratum in the learned
world--a universal language. Wherever this science of music is
cultivated, nothing more will be necessary than a knowledge of its
alphabet, which, being almost the same everywhere, will amount to a
universal medium of communication. A man may thus--with his Violin
under his arm, a piece of resin, and a few bundles of catgut--fiddle
his way through the world, and never be at a loss to make himself
understood.--I am, &c.,
"DEMI-SEMIQUAVER."
SPOHR AND HIS GUARNERI.
"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 frequently, 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 our 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 carriage, 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 half a league from Gottingen, I was compelled to abandon
for that evening all further steps for the recovery of my Guarneri. 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 Guarneri, 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_.
SPOHR AND THE COLLECTOR.
When Louis Spohr was in London in 1820, he tells us, in his
Autobiography, he received a letter couched in the following terms:
"Mr. Spohr is requested to call upon Dr. ---- to-day at four o'clock."
"As I did not know the name of the writer," he proceeds to relate,
"nor could ascertain from the servant the purpose for which my
attendance was requested, I replied, in the same laconic tone, 'At the
hour named I am engaged, and cannot come.' The next morning the
servant reappeared, bearing a second and more polite note: 'Mr. Spohr
is requested to favour Dr. ---- with a visit, and to appoint the hour
when it will be convenient for him to call.' The servant had been
instructed to offer me the use of his master's carriage, and having in
the meantime discovered that the gentleman was a celebrated physician,
a patron of music, and a lover of Violins, I drove to his house. A
courteous old gentleman with grey hair met me on the stairs.
Unfortunately he neither understood French nor German, consequently we
were unable to converse together. We stood for a moment somewhat
embarrassed, when he took my arm and led me into a large room, on the
walls of which hung a great number of Violins. Other Violins had been
removed from their cases and placed on the tables. The Doctor gave me
a Violin-bow, and pointed to the instruments. I now perceived that he
was desirous of having my opinion of the instruments. I, therefore,
played upon them, and placed them in order, according to my idea of
their merit. When I had selected the six most valuable ones, I played
upon them alternately in order to discover the best of the half-dozen.
Perceiving that the doctor cast upon one instrument glances especially
tender whenever I played upon it, I gladly afforded the good old man
pleasure by declaring it to be the best Violin. When I took my hat to
leave, the old gentleman, with a kind smile, slipped a five-pound note
into my hand. Astonished, I looked at it, and also at the Doctor, not
knowing at first what he meant; but suddenly it occurred to me that it
was intended as a fee for having examined his Violins. I smilingly
shook my head, laid the note on the table, pressed the Doctor's hand,
and descended the stairs. Some months later, upon the occasion of my
benefit concert, the Doctor procured a ticket, for which he sent a
ten-pound note."
THE ETTRICK SHEPHERD AND THE VIOLIN.
"But the pleasantest part of our fellowship is yet to describe. At a
certain period of the night, our entertainer (the renowned Timothy
Tickler) knew by the longing looks which I cast to a beloved corner of
the dining-room what was wanting. Then with, 'Oh, 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, and 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 increased--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 ecstasy that came
across us in these enraptured moments were caused by hearing the laugh
and joke going on with our friends, as if no such thrilling strains
had been flowing. But if Tim'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.
"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 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 profession. But Borax never does
business in his shop, which is a dusty desert from one week's 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
acknowledge 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, 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 two hundred 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 masterpiece 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 in 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 indispensables 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 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 upon 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
_f_-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 of tone--_twang_--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
autograph of the immortal maker--Albani, Guarneri, 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 instrument 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 is 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 imports Fiddles in the rough, under the
designation of toys, most of which are the production of his
peasant-countrymen bordering on the Black Forest; and with these he
supplies the English provinces and the 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
consuming 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 the lot of splintered
fragments for a couple of pounds, and in a fortnight had restored the
magnificent Stradivari 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 himself
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 sall sell you de
pest--dat ish, de pest for the mowny. Vat you sall gif for him?'
"'Well, I can go as far as ten guineas,' says the customer.
"'Ten kinnis is good for von goot Pfeedel; bote besser is tventy,
tirty, feefty kinnis, or von hunder, look you; bote ten kinnis is
goot--you sall 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 vell 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 sall vish to see.'
"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 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."
THE PRINCE AND THE FUGAL VORTEX.
A Royal amateur and British Admiral, a lover of the Violin and patron
of music, happened whilst at Malta to be leading Mozart's charming
Quartet in G major--
[Illustration: _Allegro vivace assai_.]
The opening movement, together with the Minuet, Trio, and Andante
having been rendered with pleasure and satisfaction, the Finale was
entered upon with due determination.
Its fugal subject--
[Illustration: _Molto Allegro_.]
was well under way, and speedily in full sail. Ere long an evident
indecision of purpose manifested itself, the motive or subject failing
to elicit other than dubious answers to its calls; it was emphasised
with loudness, not without signs of impatience, but to no purpose; all
became hopelessly involved and incoherent, until at length, like the
ice described by the "Ancient Mariner"--
"The _fugue_ was here, the _fugue_ was there,
The _fugue_ was all around;
It cracked and growled and roared and howled
Like noises in a swound."
The second Violin, overcome by the surging counterpoint, ceased
playing, and with the adroitness of a Raleigh turned to the Prince and
said, "Pardon me, your Royal Highness, I fear we have been carried
away by the vortex of the melody." The execution of chamber
compositions belonging to the higher walks of counterpoint is
frequently disappointing, but seldom or never is the failure so
gracefully and agreeably accounted for.
SALE OF CREMONESE INSTRUMENTS AT MILAN, AT THE END OF THE LAST
CENTURY.
(_Extracted from the "Gazetta di Firenze," 1790_.)
The following instruments were offered for sale at Milan, by Signor
Francesco Albinoni, in March, 1790:--
1. Violin by Antonio and Girolamo Amati, Cremona 1616
2. " " Niccolo Amati . . . . . . . . . . . 1647
3. " " ditto . . . . . . . . . . . . . 1667
4. " " Andrea Guarneri . . . . . . . . . . 1657
5. " " Giuseppe Guarneri, figlio . . . . . 1705
6. " " Antonio Stradivari . . . . . . . . 1708
7. " " ditto . . . . . . . . . . . . . 1719
8. " " Giovanni Ruggeri . . . . . . . . . 1653
9. " " Francesco Ruggeri . . . . . . . . . 1670
10. Tenor by Antonio and Girolamo Amati . . . . . 1617
11. " " ditto ditto . . . . . . . . 1618
12. " " Francesco Ruggeri . . . . . . . . . 1619
13. Violoncello by Amati, Cremona . . . . . . . . 1622
14. " " Andrea Guarneri . . . . . . . 1692
The above announcement cannot fail to make one reflect on the
different degree of interest excited by a sale of Cremonas a century
ago and one at the present time. The sale conducted by Signor
Albinoni, in 1790, at Milan, doubtless passed with but little, if any,
display of enthusiasm, and were it now possible to learn the prices
realised, they would certainly give occasion for surprise when
compared with those now obtained. As regards the increased interest
taken in rare Violins, the sale of the Gillott collection, in 1872,
furnishes an instance of comparatively recent date. The announcement
of Messrs. Christie and Manson served to bring together in King
Street, St. James's, a legion of Violin votaries. So unusual was the
excitement that the _Graphic_ had one of its pages occupied by an
excellent representation of "Viewing the Violins." In Paris, in the
year 1878, the sale of a Stradivari Violin, at the Hotel Drouot, gave
rise to an unusual display of interest. The first bid was for ten
thousand francs, and the Stradivari, dated 1709, was knocked down for
the large sum of twenty-two thousand one hundred francs. When the
biddings at the Hotel des Ventes had reached eighteen thousand francs,
a casualty, which might have led to unpleasant results, lent
additional zest to the proceedings. There was a great pressure among
the crowd to obtain a sight of the Stradivari. Two or three of the
more adventurous spirits clambered on to a table to gain a clear
prospect of the precious Fiddle, causing the legs of the table to give
way and the enthusiasts to be precipitated to the ground. A cry of
terror--less for the fallen than for the Fiddle--arose from the
throng; but soon the voice of the auctioneer was heard proclaiming, in
reassuring accents, "Do not be alarmed, gentlemen; the Stradivari is
safe!"
AN INDEFATIGABLE VIOLINIST.
"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 WISH.
"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_ Stradivari, I confess.
_Two_ meerschaums, I would fain possess."
--_Extract from Oliver Wendell Holmes' Lines on Contentment_.
LIVING STRADIVARIS.
A passionate lover of Fiddles, being in Milan, made the acquaintance
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-connoisseurship was exhausted. Inquiries 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. "By the way, I can introduce you to a friend who
has in his possession some choice Stradivaris, of various dates, and
having heads of a very marked character." 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 inquired of the servant if his master
was at home. Being assured of this, the Fiddler-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, inquired after the
Stradivaris, 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 _Stradivaris_--three boys 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. Signor 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. Ultimately the countenance of Signor Stradivari
began to assume anything but a pleased 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, suffered 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.
PLEASURES OF IMAGINATION.
A lady belonging to Covent 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 of _pizzicato 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 occasion
you are indebted rather to your imagination than your ears for the
delight you have experienced." "How, Mr. Cooke?" "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
one in such a manner, how much more wonderful are the sensations he
must produce when he _does_ play!"
A ROYAL AMATEUR.
"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 of 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 his _petites_ 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 Tenor,
this all-powerful favourite of Francis the First would have lived and
died an obscure physician."--_Critique Musicale_.
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 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 fingers. 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 St. 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_.
OLE BULL AND FIDDLE VARNISH.
"A man who had a patent varnish for Violins, brought his invention to
Ole Bull, and begged him to try it. He said that it gave ordinary
instruments the sweet quality of a Cremona Fiddle. Ole Bull tried it,
and found that it improved the tone, and promised to use a Violin
prepared with it at a concert he had to give at the house of the Duke
of Riario. There was a great deal of fashionable company at this
concert, and the heat of the room melted this famous varnish, which
was really a preparation of asafoetida. The smell which it exuded was
so maddening that an ordinary man would have stopped and excused
himself; but Ole Bull merely closed his eyes, turned his face away,
and played with an energy which became more frenzied the more
intolerable the stink became. He enjoyed an overwhelming success, and
the Duke rushed forward to seize his hand in congratulation. The
appalling odour of asafoetida struck him in the face, and Ole Bull had
to explain in what agony he had been performing."--_Ole Bull's_
"_Breve i Uddrag_," _by Jonas Lie, Copenhagen_, 1881.
ON THE TREATMENT OF THE VIOLIN.
_In a Letter from the celebrated Tartini_.
The letter here presented to my readers was translated and published
by Dr. Burney, in 1779, under the following title: "A Letter from the
late Signor Tartini to Signora Maddalena Lombardini (afterwards
Signora Sirmen). Published as an important lesson to performers on the
Violin.
"'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, therefore, 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 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 constantly 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
little space between every two, for though they are written thus--
[Illustration]
they should be played as if there was a rest after every note, in this
manner--
[Illustration]
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 that part and the middle; 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 facility
of executing swift passages 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, like these--
[Illustration]
Of such divisions you 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 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 moving 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 to 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 yourself 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 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 kinds of shakes; for the same shake will not serve
with equal propriety for a slow movement 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 insensible degrees, till it becomes rapid, in the manner
following:--
[Illustration]
But you must not vigorously move immediately from semiquavers to
demisemiquavers, 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 a demisemiquaver intermediate degrees 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 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.'"
INDEX
A PAGE
Absam, Thomas . . . . . . . . . . . . . . . . . . . . . . . . . 293
Acevo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Adam, as a Violist . . . . . . . . . . . . . . . . . . . . . . . 3
Adams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293
Addison, William . . . . . . . . . . . . . . . . . . . . . . . . 293
Aireton, Edmund, good work, Amatese model . . . . . . . . . . . 293
Alard, M., composer and Professor at the Conservatoire . . . . . 395
Albanesi, Sebastiano . . . . . . . . . . . . . . . . . . . . . . 77
Albani . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259
Albani, Mathias (2); Italian style, good model and workmanship . 259
Albani, Paolo . . . . . . . . . . . . . . . . . . . . . . . . . 260
Albani, Mathias, Stainer form, good varnish . . . . . . . . . . 259
Aldred . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293
Aldric, copier of Stradivari; dealings with Luigi Tarisio . . . 231
Aletzie, Paolo . . . . . . . . . . . . . . . . . . . . . . . . . 260
Allar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Alvani . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Amati, Andrea, his Violins mostly "Three-quarter"; founder of
the School of Cremona; character of his Varnish; his method of
cutting; his "Charles IX. Set," in the Chapel Royal,
Versailles . . . . . . . . . . . . . . . . . . . . . . . . . 78-81
Amati, the Brothers Antonio and Girolamo, character of their
work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Amati, Girolamo, son of Niccolo, his instruments described;
character of his varnish . . . . . . . . . . . . . . . . . . . 92
Amati, Niccolo, the greatest of his family; special
characteristics of his work . . . . . . . . . . . . . . . . 84-92
Amelot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Anecdotes and Miscellanea connected with the Violin . . . . . . 410
Apollo and Orpheus, in Fiddle History . . . . . . . . . . . . . 3
Appleby, Mr. Samuel, letter from, on the Gasparo da Salo
Double-Bass of Signor Dragonetti . . . . . . . . . . . . . . . 465
Arabian Origin of the Ribeca, alleged . . . . . . . . . . . . . 7
Arabians, Inventors of the Monochord . . . . . . . . . . . . . . 7
Ariberti, Bartolommeo, Marquis, his letter to Stradivari . . . . 193
Arisi, Desiderio on Stradivari . . . . . . . . . . . . . . . . . 185
Artmann, copier of Amati . . . . . . . . . . . . . . . . . . . . 260
Asiatic Origin of the Violin, alleged . . . . . . . . . . . . . 4
Askey, Samuel . . . . . . . . . . . . . . . . . . . . . . . . . 293
Aubry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Augiere . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Augustus, Elector of Saxony and King of Poland, his patronage of
Stradivari . . . . . . . . . . . . . . . . . . . . . . . . . . 207
B
Bachelier . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Bach, John Sebastian; influence of his great compositions on the
development of Violin-playing . . . . . . . . . . . . . . . . 404
Bachmann, Carl Ludwig, Court Musician to Frederick the Great;
founder of concerts for amateurs at Berlin . . . . . . . . . . 260
Bachmann, O., author of a book on Bow Instruments . . . . . . . 260
Bagatella, Antonio . . . . . . . . . . . . . . . . . . . . . . . 95
Bagatella, Pietro . . . . . . . . . . . . . . . . . . . . . . . 95
Baillot, Pierre, Violinist . . . . . . . . . . . . . . . . . . . 394
Baines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293
Baker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293
Balestrieri, character of his Instruments . . . . . . . . . . . 95
Ballantine . . . . . . . . . . . . . . . . . . . . . . . . . . . 293
Baltzar, Thomas, Violinist . . . . . . . . . . . . . . . . . . . 382
Banks, Benjamin; high character of his work . . . . . . . . . . 294
Banks, Benjamin (2) . . . . . . . . . . . . . . . . . . . . . . 296
Banks, James and Henry . . . . . . . . . . . . . . . . . . . . . 296
Bannister, John, Violinist . . . . . . . . . . . . . . . . . . . 383
Barnes, Robert . . . . . . . . . . . . . . . . . . . . . . . . . 297
Barrett, John, follower of Stainer, good quality . . . . . . . . 297
Barton, George . . . . . . . . . . . . . . . . . . . . . . . . . 297
Bassiano . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Bassot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Bausch, Ludwig C. A. . . . . . . . . . . . . . . . . . . . . . . 261
Bausch, L. B. . . . . . . . . . . . . . . . . . . . . . . . . . 261
Bausch, Otto B. . . . . . . . . . . . . . . . . . . . . . . . . 261
Bazzini, Antonio, Violinist . . . . . . . . . . . . . . . . . . 392
Beckmann . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261
Bedler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261
Beethoven, and his works for the Violin . . . . . . . . . . . . 407
Bellosio, Anselmo . . . . . . . . . . . . . . . . . . . . . . . 96
Benda, Francis, Violinist and composer . . . . . . . . . . . . . 403
Bente, Matteo . . . . . . . . . . . . . . . . . . . . . . . . . 96
Bergonzi, Benedetto . . . . . . . . . . . . . . . . . . . . . . 103
Bergonzi, Carlo (1), pupil of Antonio Stradivari;
characteristics of his work; comparison with Giuseppe Guarneri
and Stradivari; his resplendent varnish; his Violins and
Violoncellos . . . . . . . . . . . . . . . . . . . . . . . . . 96
Bergonzi, Carlo (2) . . . . . . . . . . . . . . . . . . . . . . 103
Bergonzi, Michel Angelo, pattern of his instruments . . . . . . 102
Bergonzi, Niccolo, his work . . . . . . . . . . . . . . . . . . 102
Bergonzi, Zosimo . . . . . . . . . . . . . . . . . . . . . . . . 103
Bertolotti (Gaspar da Salo) . . . . . . . . . . . . . . . . . . 168
Beriot, Charles de, Belgian composer and Violinist . . . . . . . 395
Bernardel, Sebastien Philippe, worked with Lupot; excellent work 231
Bertassi, Ambrogio . . . . . . . . . . . . . . . . . . . . . . . 103
Bertrand, Nicolas, Viol-maker . . . . . . . . . . . . . . . . . 232
Betts, Edward, copyist of Amati, high finish . . . . . . . . . . 298
Betts, John, pupil of Duke . . . . . . . . . . . . . . . . . . . 297
Betts Stradivari, The, and Mr. Charles Reade's letter thereon . 467
"Betts Strad," The . . . . . . . . . . . . . . . . . . . . . . . 466
Bimbi, B. . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Bindernagel, good copyist of Amati . . . . . . . . . . . . . . . 261
Blagrove, Henry, his "Concerti da Camera" . . . . . . . . . . . 401
Blasius, St., MS. destroyed by fire . . . . . . . . . . . . . . 14
Boccherini, his Quintettes . . . . . . . . . . . . . . . . . . . 390
Boivin, Claude, Guitar-maker . . . . . . . . . . . . . . . . . . 232
Bolles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299
Booth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299
Booth, William . . . . . . . . . . . . . . . . . . . . . . . . . 299
Boquay, Jacques; old French School; good character of work . . . 232
Borelli, Andrea . . . . . . . . . . . . . . . . . . . . . . . . 103
Borlon, Artus, or Arnould . . . . . . . . . . . . . . . . . . . 233
Borlon, Francois, Viol-maker . . . . . . . . . . . . . . . . . . 233
Borlon, Joannes, Viol-maker . . . . . . . . . . . . . . . . . . 233
Borlon (or Porlon), Pierre, Double-Bass maker . . . . . . . . . 233
Boucher . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299
Boullangier, C. . . . . . . . . . . . . . . . . . . . . . . . . 233
Boumeester . . . . . . . . . . . . . . . . . . . . . . . . . . . 233
Bourdet, Jacques . . . . . . . . . . . . . . . . . . . . . . . . 234
Bourdet, Sebastien . . . . . . . . . . . . . . . . . . . . . . . 234
Boussu, Eterbeck . . . . . . . . . . . . . . . . . . . . . . . . 234
Bowed Instruments, Early references to . . . . . . . . . . . . . 5
Braccia, Viola da, The . . . . . . . . . . . . . . . . . . . . . 13
Brensio, Girolamo (Brensius) . . . . . . . . . . . . . . . . . . 103
Brescia, Da, Battista . . . . . . . . . . . . . . . . . . . . . 104
Brescia, the cradle of Violin making . . . . . . . . . . . . . . 65
Breton Le . . . . . . . . . . . . . . . . . . . . . . . . . . . 234
Bridge, The, its position, form, and selection . . . . . . . . . 38
Britton, Tom, The "Small-coal Man" . . . . . . . . . . . . . . . 384
Broschi, Carlo . . . . . . . . . . . . . . . . . . . . . . . . . 104
Browne, John . . . . . . . . . . . . . . . . . . . . . . . . . . 299
Brown, James . . . . . . . . . . . . . . . . . . . . . . . . . . 299
Buchstadter . . . . . . . . . . . . . . . . . . . . . . . . . . 261
Budiani, Giovita (see Rodiani) . . . . . . . . . . . . . . . . . 164
Bull, Ole B., his great artistic skill . . . . . . . . . . . . . 393
Busseto, Giovanni M. . . . . . . . . . . . . . . . . . . . . . . 104
C
Cahusac . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299
Calcagni, Bernardo . . . . . . . . . . . . . . . . . . . . . . . 104
Calot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234
Calvarola, Bartolommeo . . . . . . . . . . . . . . . . . . . . . 104
Camilli, Camillo . . . . . . . . . . . . . . . . . . . . . . . . 104
Campagnoli, his "Studies" and "Violin School" . . . . . . . . . 391
Cappa, Gioffredo, high character of his work . . . . . . . . . . 105
Carcassi . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Carrodus, John, Violinist . . . . . . . . . . . . . . . . . . . 402
Carter, John . . . . . . . . . . . . . . . . . . . . . . . . . . 299
Casini, Antonio . . . . . . . . . . . . . . . . . . . . . . . . 106
Castagneri, Andrea . . . . . . . . . . . . . . . . . . . . . . . 107
Castagnery, Jean Paul . . . . . . . . . . . . . . . . . . . . . 234
Castellani . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
Castro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
Catenar, Enrico . . . . . . . . . . . . . . . . . . . . . . . . 107
"Catgut," a misnomer . . . . . . . . . . . . . . . . . . . . . . 48
Catlins, Venetian . . . . . . . . . . . . . . . . . . . . . . . 46
Celioniati, Gian Francesco . . . . . . . . . . . . . . . . . . . 107
Cerin, Marco Antonio . . . . . . . . . . . . . . . . . . . . . . 107
Ceruti, Enrico, exhibitioner in London and Milan Exhibition . . 108
Ceruti, Giovanni Battista, follower of Amati pattern . . . . . . 108
Ceruti, Giuseppe . . . . . . . . . . . . . . . . . . . . . . . . 108
Cervetto and Garrick . . . . . . . . . . . . . . . . . . . . . . 442
Chaconne, of Moorish origin . . . . . . . . . . . . . . . . . . 10
Challoner, Thomas . . . . . . . . . . . . . . . . . . . . . . . 299
Champion Rene . . . . . . . . . . . . . . . . . . . . . . . . . 234
Chanot, Francois . . . . . . . . . . . . . . . . . . . . . . . . 234
Chanot, F. . . . . . . . . . . . . . . . . . . . . . . . . . . . 235
Chanot, G. A. . . . . . . . . . . . . . . . . . . . . . . . . . 235
Chanot, Georges, an indefatigable and excellent workman; copyist
of Stradivari and Guarneri; known also as a dealer . . . . . . 235
Chanot, Georges (_fils_) . . . . . . . . . . . . . . . . . . . . 235
Chappell, Arthur, his "Monday Popular Concerts" . . . . . . . . 402
Chappuy, Nicolas-Augustin . . . . . . . . . . . . . . . . . . . 235
Chardon, Joseph . . . . . . . . . . . . . . . . . . . . . . . . 236
Charles II. as a Musician . . . . . . . . . . . . . . . . . . . 384
Charotte . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236
Cheli, or Chelys, The, description and alleged origin of . . . . 15
Chesterfield, Lord, his estimate of Fiddles and Fiddling . . . . 397
"Chest of Viols" . . . . . . . . . . . . . . . . . . . . . . . . 194
Chevrier, Andre-Augustin . . . . . . . . . . . . . . . . . . . . 236
Christa, Joseph Paul . . . . . . . . . . . . . . . . . . . . . . 261
Cinderella Violoncello, A . . . . . . . . . . . . . . . . . . . 448
Circapa, Tommaso . . . . . . . . . . . . . . . . . . . . . . . . 109
Claudot, Augustin . . . . . . . . . . . . . . . . . . . . . . . 236
Claudot, Charles . . . . . . . . . . . . . . . . . . . . . . . . 236
Clement . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236
Cliquot, Henri . . . . . . . . . . . . . . . . . . . . . . . . . 236
Cliquot, Louis Alexandre . . . . . . . . . . . . . . . . . . . . 236
Cocco, Cristoforo . . . . . . . . . . . . . . . . . . . . . . . 109
Cole, James . . . . . . . . . . . . . . . . . . . . . . . . . . 299
Cole, Thomas . . . . . . . . . . . . . . . . . . . . . . . . . . 299
Collectors of Italian and other Violins . . . . . . . . . . . . 365
Collier, Samuel . . . . . . . . . . . . . . . . . . . . . . . . 299
Collier, Thomas . . . . . . . . . . . . . . . . . . . . . . . . 299
Collingwood, Joseph . . . . . . . . . . . . . . . . . . . . . . 299
Composers for the Violin, early English . . . . . . . . . . . . 381
"Concerto of Violins" . . . . . . . . . . . . . . . . . . . . . 194
Construction of the Violin . . . . . . . . . . . . . . . . . . . 27
Contreras, Joseph . . . . . . . . . . . . . . . . . . . . . . . 109
Conway, William . . . . . . . . . . . . . . . . . . . . . . . . 299
Cooper, Henry C., Violinist, and the Quartette Association . . . 402
Copyists, three kinds of, and their methods . . . . . . . . . . 144
Corbett, William, an early collector of Italian Violins; his
Gallery of Cremonys and Stainers . . . . . . . . . . . . . . . 365
Cordano, Jacopo Filippo . . . . . . . . . . . . . . . . . . . . 110
Corelli, his Sonatas, or "Balletti da Camera" . . . . . . . . . 379
Corsby . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299
Corsby, George . . . . . . . . . . . . . . . . . . . . . . . . . 300
Costa, Pietro Antonio dalla . . . . . . . . . . . . . . . . . . 110
Covered Strings . . . . . . . . . . . . . . . . . . . . . . . . 52
Cozio, Count, patron of Mantegazza, 152; purchaser of
Stradivari's tools and models . . . . . . . . . . . . . . . . 361
Cramer, William and Francois, Violinists, and the "Ancient
Concerts" in London . . . . . . . . . . . . . . . . . . . . . 401
Cramond, Charles . . . . . . . . . . . . . . . . . . . . . . . . 300
Crask, George . . . . . . . . . . . . . . . . . . . . . . . . . 300
Credulous Dabblers and Fiddle Marks . . . . . . . . . . . . . . 457
Cremonese apathy as to Stradivari . . . . . . . . . . . . . . . 215
Cremonese Varnish, a "lost art" . . . . . . . . . . . . . . . . 71
Crescent-formed Sound-hole . . . . . . . . . . . . . . . . . . . 22
Cristofori, Bartolommeo . . . . . . . . . . . . . . . . . . . . 109
Cross Nathaniel . . . . . . . . . . . . . . . . . . . . . . . . 300
Crowdero, The Champion, and Hudibras . . . . . . . . . . . . . . 410
Crowther, John . . . . . . . . . . . . . . . . . . . . . . . . . 300
Cunault . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236
Cuny . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236
Cuthbert . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300
"Cutting" and maiming, Charles Reade on . . . . . . . . . . . . 248
Cuypers . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236
D
Dalla Valle, Marquis, possessor of Stradivari's tools and models 189
Dando, Violinist, and the "Concerti da Camera" in London . . . . 401
Daniel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237
Darche . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237
Dardelli, Pietro, his Lutes and Viols . . . . . . . . . . . . . 110
David . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237
Davidson . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300
Davis, Richard . . . . . . . . . . . . . . . . . . . . . . . . . 300
Davis, William . . . . . . . . . . . . . . . . . . . . . . . . . 300
Dearlove, Mark . . . . . . . . . . . . . . . . . . . . . . . . . 300
De Beriot and Maggini's Violins . . . . . . . . . . . . . . . . 150
Decadence of the Violin-maker's art, general causes of . . . . . 286
De Comble, Ambroise, probably a pupil of Stradivari; good
character of work, varnish, and tone . . . . . . . . . . . . . 237
Dehommais . . . . . . . . . . . . . . . . . . . . . . . . . . . 238
Delanoix . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238
Delany, John . . . . . . . . . . . . . . . . . . . . . . . . . . 300
Delaunay . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238
Deleplanque, Gerard . . . . . . . . . . . . . . . . . . . . . . 238
Del Gesu (see Guarneri) . . . . . . . . . . . . . . . . . . . . 132
Dennis, Jesse . . . . . . . . . . . . . . . . . . . . . . . . . 301
Derazey . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238
Despine, A. . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Despons, Antoine . . . . . . . . . . . . . . . . . . . . . . . . 238
Devereux, John . . . . . . . . . . . . . . . . . . . . . . . . . 301
Dibdin, Charles, his early musical experiences . . . . . . . . . 319
Dichord of the Egyptians and Arabians . . . . . . . . . . . . . 8
Dickeson, John . . . . . . . . . . . . . . . . . . . . . . . . . 301
Dickinson, Edward . . . . . . . . . . . . . . . . . . . . . . . 301
Dieffopruchar, Magno (Magnus Tieffenbrucker) . . . . . . . . . . 111
Diehl, Friedrich . . . . . . . . . . . . . . . . . . . . . . . . 262
Diehl, Heinrich . . . . . . . . . . . . . . . . . . . . . . . . 262
Diehl, Johann . . . . . . . . . . . . . . . . . . . . . . . . . 262
Diehl, Nicolaus . . . . . . . . . . . . . . . . . . . . . . . . 262
Diel, Johann . . . . . . . . . . . . . . . . . . . . . . . . . . 262
Diel, Jacob . . . . . . . . . . . . . . . . . . . . . . . . . . 262
Diel (or Diehl), Martin . . . . . . . . . . . . . . . . . . . . 261
Diel, Nicolaus . . . . . . . . . . . . . . . . . . . . . . . . . 262
Dieulafait, Viol-maker . . . . . . . . . . . . . . . . . . . . . 238
Ditton . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301
Dodd, Thomas, a dealer and employer of makers of high merit, and
famous for his varnish . . . . . . . . . . . . . . . . . . . . 301
Dodd, Thomas (_fils_) . . . . . . . . . . . . . . . . . . . . . 303
"Dolphin Strad," The . . . . . . . . . . . . . . . . . . . . . . 200
Dominicelli . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Dopfer, Nicolaus . . . . . . . . . . . . . . . . . . . . . . . . 262
Dorant, William . . . . . . . . . . . . . . . . . . . . . . . . 304
Double-Basses and Violas the stepping-stones to Violin-making . 25
Dragonetti, his heavy strings . . . . . . . . . . . . . . . . . 51
Dragonetti's Gasparo da Salo . . . . . . . . . . . . . . . . . . 463
Droulot . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238
Ducheron, Mathurin . . . . . . . . . . . . . . . . . . . . . . . 238
Duiffoprugcar, Gaspar, comparison of his claims with those of
Gaspar da Salo; description of his work . . . . . . . . . . . 111
Duke, Richard, one of the most distinguished of English makers,
but often counterfeited . . . . . . . . . . . . . . . . . . . 304
Duke, Richard (_fils_) . . . . . . . . . . . . . . . . . . . . . 305
Du Mesnil, Jacques . . . . . . . . . . . . . . . . . . . . . . . 238
Duncan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305
Durfel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262
E
Earliest representation of stringed instruments . . . . . . . . 6
Early history of Violin involved in obscurity . . . . . . . . . 1
Early makers, their great care in selection of wood for the
Violins . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Eastern origin of the Bow, alleged . . . . . . . . . . . . . . . 4
Eberle, J. Ulric, good copyist of Italian masters . . . . . . . 262
Eccles, John Henry, musician to Louis XIV.; his solos for the
Violin . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385
Eccles, Thomas, an itinerant Violinist . . . . . . . . . . . . . 385
Edlinger, Joseph Joachim . . . . . . . . . . . . . . . . . . . . 262
Edlinger, T. . . . . . . . . . . . . . . . . . . . . . . . . . . 262
Eesbroeck, Jean Van . . . . . . . . . . . . . . . . . . . . . . 238
Eglington . . . . . . . . . . . . . . . . . . . . . . . . . . . 305
Egyptian Obelisk, stringed instruments on . . . . . . . . . . . 6
"Elector Stainers," The Twelve . . . . . . . . . . . . . . . . . 275
Elliston and George III. . . . . . . . . . . . . . . . . . . . . 444
Elsler, Joseph . . . . . . . . . . . . . . . . . . . . . . . . . 263
Engel's "Researches into Early History of the Violin" . . . . . 4
English Makers, List of . . . . . . . . . . . . . . . . . . . . 293
English makers, no mention of by continental writers on the
Violin . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284
English School, The, 284; causes of its decadence . . . . . . . 285
Ernst, Franz Anton; an eminent Violinist and pupil of Lolli;
also a maker . . . . . . . . . . . . . . . . . . . . . . . . . 263
Ernst, Herr, his exquisite style as a Violinist . . . . . . . . 409
Ettrick Shepherd, The, and the Violin . . . . . . . . . . . . . 482
Eugene, Prince, and Stradivari . . . . . . . . . . . . . . . . . 203
European origin of the Violin . . . . . . . . . . . . . . . . . 11
Evans, Richard . . . . . . . . . . . . . . . . . . . . . . . . . 305
Evelyn, John, on celebrity of old Lutinists . . . . . . . . . . 263
Experiments as to tension of Violin strings . . . . . . . . . . 54
F
Falaise, copied Amati and Stradivari; good work . . . . . . . . 239
Farinato, Paolo . . . . . . . . . . . . . . . . . . . . . . . . 112
Felden, M. . . . . . . . . . . . . . . . . . . . . . . . . . . . 263
Fendt (or Fent) . . . . . . . . . . . . . . . . . . . . . . . . 239
Fendt, Bernard, an admirable workman, employed by Dodd and John
Betts . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305
Fendt, Bernard Simon, a high-class maker of Italian models . . . 307
Fendt, Francis . . . . . . . . . . . . . . . . . . . . . . . . . 309
Fendt, Jacob, clever copyist of Stradivari . . . . . . . . . . . 308
Fendt, Martin . . . . . . . . . . . . . . . . . . . . . . . . . 308
Fendt, William . . . . . . . . . . . . . . . . . . . . . . . . . 309
Ferguson, Donald . . . . . . . . . . . . . . . . . . . . . . . . 309
Fesca, Violinist, and his quartettes . . . . . . . . . . . . . . 408
Festing, Michael Christian, and the Philharmonic Society and
Royal Society of Musicians . . . . . . . . . . . . . . . . . . 398
Fetis, M., his Eastern theory of the Bow, 14; his notice of
Stradivari . . . . . . . . . . . . . . . . . . . . . . . . . . 177
_f_-holes, or Sound-holes, their importance . . . . . . . . . . 40
Fichtold, Hans . . . . . . . . . . . . . . . . . . . . . . . . . 263
Fichtl, Martin . . . . . . . . . . . . . . . . . . . . . . . . . 263
Ficker, Johann Christian . . . . . . . . . . . . . . . . . . . . 263
Ficker, Johann Gotlieb . . . . . . . . . . . . . . . . . . . . . 263
Fiddle Marks and the Credulous Dabblers . . . . . . . . . . . . 457
Fiddle Trade, The . . . . . . . . . . . . . . . . . . . . . . . 483
Finger-board, The . . . . . . . . . . . . . . . . . . . . . . . 39
Fiorillo, Giovanni . . . . . . . . . . . . . . . . . . . . . . . 112
Firth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309
Fischer, Zacharie . . . . . . . . . . . . . . . . . . . . . . . 263
Flanders, early musical culture in . . . . . . . . . . . . . . . 21
Fleury, Benoist . . . . . . . . . . . . . . . . . . . . . . . . 239
Forster, Simon Andrew . . . . . . . . . . . . . . . . . . . . . 312
Forster, William (i.), spinning-wheel and Violin-maker . . . . . 309
Forster, William (ii.), spinning-wheel and Violin-maker, and
village Violinist; copyist of Stainer, and of the Amatis;
excellent character of his work; his instruments prized by
Lindley . . . . . . . . . . . . . . . . . . . . . . . . . . . 310
Forster, William (iii.), excellent work and model . . . . . . . 312
Forster, William (iv.), good work . . . . . . . . . . . . . . . 312
Fountaine, Mr., his collection of instruments . . . . . . . . . 366
"Four Corners" of the Violono . . . . . . . . . . . . . . . . . 25
Fourrier, Nicolas . . . . . . . . . . . . . . . . . . . . . . . 239
Francis I. of Austria, an amateur musician . . . . . . . . . . . 498
Frankland . . . . . . . . . . . . . . . . . . . . . . . . . . . 313
Frei, Hans . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
French Makers, List of . . . . . . . . . . . . . . . . . . . . . 231
French School, The; sketch of its Rise and Progress . . . . . . 224
Fretted Viols . . . . . . . . . . . . . . . . . . . . . . . . . 24
Frey, Hans, Lute-maker; related to Albert Durer; his work
praised by John Evelyn . . . . . . . . . . . . . . . . . . . . 263
Fritzche . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264
"Fugal Vortex," The Prince and the . . . . . . . . . . . . . . . 491
Furber, copier of the "Betts" Stradivari . . . . . . . . . . . . 313
Furber, Henry John . . . . . . . . . . . . . . . . . . . . . . . 313
G
Gabrielli, Giovanni Battista . . . . . . . . . . . . . . . . . . 113
Gaffino, Giuseppe . . . . . . . . . . . . . . . . . . . . . . . 114
Gagliano, Alessandro, pupil of A. Stradivari; description of his
work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Gagliano, Antonio, Giovanni, Giuseppe, and Raffaele . . . . . . 116
Gagliano, Ferdinando . . . . . . . . . . . . . . . . . . . . . . 116
Gagliano, Gennaro . . . . . . . . . . . . . . . . . . . . . . . 115
Gagliano, Niccolo . . . . . . . . . . . . . . . . . . . . . . . 115
Gaillard, Charles . . . . . . . . . . . . . . . . . . . . . . . 239
Gaillard, J. B. . . . . . . . . . . . . . . . . . . . . . . . . 239
Gainsborough as a Musician . . . . . . . . . . . . . . . . . . . 438
Galbusera, C. A. . . . . . . . . . . . . . . . . . . . . . . . . 116
Ganassi, Silvestro, his work on the Viol . . . . . . . . . . . . 23
Gand, Adolphe . . . . . . . . . . . . . . . . . . . . . . . . . 241
Gand, Eugene, partner with Bernadel Brothers . . . . . . . . . . 241
Gand, Francois, pupil and son-in-law of Nicolas Lupot; excellent
work, especially as a repairer . . . . . . . . . . . . . . . . 240
Garani, Michel Angelo . . . . . . . . . . . . . . . . . . . . . 117
Garani, Niccolo . . . . . . . . . . . . . . . . . . . . . . . . 117
Garrick and Cervetto . . . . . . . . . . . . . . . . . . . . . . 442
Gasparo da Salo, reputed inventor of the four-stringed Violin,
26; the first great artistic maker, characteristics of his
work . . . . . . . . . . . . . . . . . . . . . . . . . . . 168-172
Gatinari, Francesco . . . . . . . . . . . . . . . . . . . . . . 117
Gavinies, Francois, old French School; good quality . . . . . . 241
Gavinies, Pierre, his Concertos and Sonatas . . . . . . . . . . 393
Gedler, Johann A. . . . . . . . . . . . . . . . . . . . . . . . 264
Gedler, Johann B. . . . . . . . . . . . . . . . . . . . . . . . 264
Geissenhof, Franz . . . . . . . . . . . . . . . . . . . . . . . 264
Geige, The, derivation of . . . . . . . . . . . . . . . . . . . 19
Geminiani, Francesco, his Sonatas and other works . . . . . . . 387
Gennaro, G. . . . . . . . . . . . . . . . . . . . . . . . . . . 117
George III. and Elliston . . . . . . . . . . . . . . . . . . . . 444
Gerbertus, Martinus, De Cantu et Musica Sacra . . . . . . . . . 10
Gerle, Johann, Lutes and Viols . . . . . . . . . . . . . . . . . 264
Germain, Emile . . . . . . . . . . . . . . . . . . . . . . . . . 242
Germain, Joseph Louis . . . . . . . . . . . . . . . . . . . . . 241
German Makers, List of . . . . . . . . . . . . . . . . . . . . . 259
German origin of the Violin, early indications of . . . . . . 17-18
German School, The, its poverty as to makers of originality . . 258
German Violins, no trace of in the time of Gasparo da Salo . . . 25
Geroni, Domenico . . . . . . . . . . . . . . . . . . . . . . . . 117
Ghidini, C. . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Giardini, Felice, composer and Violinist . . . . . . . . . . . . 389
Gibbs, James . . . . . . . . . . . . . . . . . . . . . . . . . . 313
Gibertini, Antonio . . . . . . . . . . . . . . . . . . . . . . . 117
Gigeours, The, of Germany . . . . . . . . . . . . . . . . . . . 20
Gilkes, William, Double-Bass maker . . . . . . . . . . . . . . . 314
Gilkes, Samuel, pupil of Forster; an excellent workman . . . . . 313
Gillott Collection, The; its origin, character, and
dispersion . . . . . . . . . . . . . . . . . . . . . . . . 367-374
Giorgi, N. . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Giustiniani, Lorenzo, his letter to Stradivari . . . . . . . . . 206
Gobetti (Gobit), Francesco, high character of his work . . . . . 118
Goding Collection, The . . . . . . . . . . . . . . . . . . . . . 366
Goding, Mr. James, his Stradivari with an alien scroll; a
curious coincidence . . . . . . . . . . . . . . . . . . . . . 455
Gofriller, Francesco . . . . . . . . . . . . . . . . . . . . . . 119
Gofriller, Matteo . . . . . . . . . . . . . . . . . . . . . . . 119
Gosselin . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242
Gough, Walter . . . . . . . . . . . . . . . . . . . . . . . . . 314
Gragnani, Antonio . . . . . . . . . . . . . . . . . . . . . . . 120
Grancino, Francesco . . . . . . . . . . . . . . . . . . . . . . 121
Grancino, Giovanni . . . . . . . . . . . . . . . . . . . . . . . 121
Grancino, Giovanni Battista . . . . . . . . . . . . . . . . . . 121
Grancino, Paolo, pupil of Niccolo Amati; description of his work 120
"Grand Amati" pattern, The . . . . . . . . . . . . . . . . . . . 86
Grand-Gerard . . . . . . . . . . . . . . . . . . . . . . . . . . 242
Grandson, Fils . . . . . . . . . . . . . . . . . . . . . . . . . 242
Graun, Violinist to the King of Prussia . . . . . . . . . . . . 403
Griesser, Matthias . . . . . . . . . . . . . . . . . . . . . . . 264
Grimm, Carl . . . . . . . . . . . . . . . . . . . . . . . . . . 264
Grobitz, A. . . . . . . . . . . . . . . . . . . . . . . . . . . 264
Grosset, Paul Francois . . . . . . . . . . . . . . . . . . . . . 242
Gross-Geige, The . . . . . . . . . . . . . . . . . . . . . . . . 20
Grulli, Pietro . . . . . . . . . . . . . . . . . . . . . . . . . 121
Guadagnini, Antonio . . . . . . . . . . . . . . . . . . . . . . 126
Guadagnini, Carlo . . . . . . . . . . . . . . . . . . . . . . . 126
Guadagnini, Francesco and Giuseppe, now living at Turin . . . . 126
Guadagnini, Gaetano . . . . . . . . . . . . . . . . . . . . . . 125
Guadagnini, Giovanni Battista, pupil of Stradivari; description
of his work . . . . . . . . . . . . . . . . . . . . . . . . . 123
Guadagnini, Giuseppe . . . . . . . . . . . . . . . . . . . . . . 125
Guadagnini, Lorenzo, the first of his family; high character of
his work . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Guarneri, Andrea, the pioneer of his family; pupil of Amati; his
Violins and Violoncellos . . . . . . . . . . . . . . . . . . . 126
Guarneri, at a discount . . . . . . . . . . . . . . . . . . . . 458
Guarneri, Giuseppe (son of Andrea); originality of his style,
and peculiarity of his sound-holes; character of his varnish;
high value of his Violins, Violas, and Violoncellos . . . . . 129
Guarneri, Giuseppe (del Gesu); his peculiar cypher; probably a
pupil of his cousin Giuseppe; his fertility of design;
traditions as to his "prison Fiddles;" three orders of
copyists; Paganini's Guarneri . . . . . . . . . . . . . . 132-147
Guarneri, Pietro (brother of Giuseppe filius Andrae),
description of his work . . . . . . . . . . . . . . . . . . . 131
Guarneri, Pietro (son of Giuseppe filius Andrae) . . . . . . . . 132
Guersan, Louis . . . . . . . . . . . . . . . . . . . . . . . . . 242
Gugemmos . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264
Guidanti, Giovanni (Joannes Guidantus), specimen at exhibition
of Milan, 1881; character of his work . . . . . . . . . . . . 147
Guillami . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
Gunn, John, his essay on stringed instruments . . . . . . . . . 7
H
Habeneck, Francois Antoine, composer . . . . . . . . . . . . . . 395
Haensel, Johann A. . . . . . . . . . . . . . . . . . . . . . . . 264
Hamberger, Joseph . . . . . . . . . . . . . . . . . . . . . . . 264
Hamm, Johann Gottfried . . . . . . . . . . . . . . . . . . . . . 264
Hammig, W. H. . . . . . . . . . . . . . . . . . . . . . . . . . 264
Handel, George Frederick, and the Royal Society of Musicians,
399; influence of his works on Violin-playing . . . . . . . . 405
Harbour . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314
Hardie, Matthew . . . . . . . . . . . . . . . . . . . . . . . . 314
Hardie, Thomas . . . . . . . . . . . . . . . . . . . . . . . . . 314
Hare, John . . . . . . . . . . . . . . . . . . . . . . . . . . . 314
Hare, Joseph . . . . . . . . . . . . . . . . . . . . . . . . . . 314
Harris Charles, an excellent copyist, Italian mode . . . . . . . 315
Harris, Charles (2), good character of work . . . . . . . . . . 316
Hart, John Thomas, pupil of Samuel Gilkes; distinguished as a
connoisseur, dealer and collector . . . . . . . . . . . . . . 316
Harton, Michael, Lute-maker . . . . . . . . . . . . . . . . . . 147
Hassert . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264
Hawkins, Sir John, his "History of Music," 7; his opinion of
Stainer's merits . . . . . . . . . . . . . . . . . . . . . . . 271
Haydn, Joseph, his quartettes, and a Lady's humorous
comparison, 405-406; Haydn in London; Letters from Rev. T.
Twining . . . . . . . . . . . . . . . . . . . . . . . . . . . 435
Haynes, J. . . . . . . . . . . . . . . . . . . . . . . . . . . . 317
Heesom, Edward . . . . . . . . . . . . . . . . . . . . . . . . . 317
Hel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242
Helmer, Carl . . . . . . . . . . . . . . . . . . . . . . . . . . 265
Henry, Charles . . . . . . . . . . . . . . . . . . . . . . . . . 242
Henry, Eugene . . . . . . . . . . . . . . . . . . . . . . . . . 242
Henry, Jean Baptiste . . . . . . . . . . . . . . . . . . . . . . 242
Henry, Jean Baptiste Felix . . . . . . . . . . . . . . . . . . . 242
Henry, Octave . . . . . . . . . . . . . . . . . . . . . . . . . 242
Herbert, George, his references to music . . . . . . . . . . . . 420
Hildebrandt, Michael C. . . . . . . . . . . . . . . . . . . . . 265
Hill, Joseph . . . . . . . . . . . . . . . . . . . . . . . . . . 317
Hill, Lockey . . . . . . . . . . . . . . . . . . . . . . . . . . 317
Hill, William . . . . . . . . . . . . . . . . . . . . . . . . . 317
Hill, William Ebsworth . . . . . . . . . . . . . . . . . . . . . 318
Hiltz, Paul . . . . . . . . . . . . . . . . . . . . . . . . . . 265
Hobby-horses, Laurence Sterne on . . . . . . . . . . . . . . . . 331
Hoffmann, Johann Christian, Lutes and Viols . . . . . . . . . . 265
Hoffman, Martin, Lutes and Viols . . . . . . . . . . . . . . . . 265
Hofmans, Mathias . . . . . . . . . . . . . . . . . . . . . . . . 242
Hogarth's "Line of Beauty" and the Violin . . . . . . . . . . . 28
Holloway, J. . . . . . . . . . . . . . . . . . . . . . . . . . . 318
Holmes, Henry and Alfred, Violinists . . . . . . . . . . . . . . 403
Holmes, Oliver Wendell, on the Violin . . . . . . . . . . . . . 332
Horil, Jacob . . . . . . . . . . . . . . . . . . . . . . . . . . 265
Hornstainer . . . . . . . . . . . . . . . . . . . . . . . . . . 265
Hornstainer, Joseph . . . . . . . . . . . . . . . . . . . . . . 265
Hudibras and the Champion Crowdero . . . . . . . . . . . . . . . 410
Huller, August . . . . . . . . . . . . . . . . . . . . . . . . . 265
Humel, Christian . . . . . . . . . . . . . . . . . . . . . . . . 265
Hume, Richard . . . . . . . . . . . . . . . . . . . . . . . . . 318
Hunger, Christoph Friedrich . . . . . . . . . . . . . . . . . . 265
I
Illuminated MSS. of the Middle Ages, and other early evidence . 12
"II Per" (see Ruggeri, Francesco) . . . . . . . . . . . . . . . 165
Indefatigable Violinist, An . . . . . . . . . . . . . . . . . . 495
Individuality and affinity both evident in the work of the
several Italian Schools . . . . . . . . . . . . . . . . . . . 67
Influence of different varnishes on the tone of the Violin . . . 75
Instruction in Violin-playing, by Tartini . . . . . . . . . . . 501
Italian Makers, List of . . . . . . . . . . . . . . . . . . . . 77
Italian School of Violin-playing . . . . . . . . . . . . . . . . 388
Italian Varnishes, the different varieties described . . . . . . 70
Italian Violins, five distinct Schools: the Brescian; the
Cremonese; the Neapolitan; Florence, Bologna and Rome; the
Venetian . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Itinerant Musicians and the Violin . . . . . . . . . . . . . 20, 386
J
"Jack of All Trades," Charles Reade's . . . . . . . . . . . . . 322
Jacobs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243
Jacobs, Hendrik, a close imitator of Nicolas Amati . . . . . . . 242
Jacquot, Charles . . . . . . . . . . . . . . . . . . . . . . . . 243
Jacquot, Charles (_fils_) . . . . . . . . . . . . . . . . . . . 243
Jais, Johann . . . . . . . . . . . . . . . . . . . . . . . . . . 265
Jauch, Johann . . . . . . . . . . . . . . . . . . . . . . . . . 265
Jay, Henry . . . . . . . . . . . . . . . . . . . . . . . . . . . 318
Jay, Henry, maker of Kits and Violoncellos . . . . . . . . . . . 318
Jay, Thomas . . . . . . . . . . . . . . . . . . . . . . . . . . 318
Jeandel, P. N. . . . . . . . . . . . . . . . . . . . . . . . . . 243
Jenkins, John, his twelve Sonatas . . . . . . . . . . . . . . . 381
Joachim, Herr, and Bach's Sonatas, 404; his high rank as a
performer . . . . . . . . . . . . . . . . . . . . . . . . . . 409
Johnson, Dr., on Collecting as a Hobby, 374; on the Violin . . . 429
Johnson, John, Violin and music-seller; his relations with
Charles Dibdin . . . . . . . . . . . . . . . . . . . . . . . . 319
Jongleurs, The . . . . . . . . . . . . . . . . . . . . . . . . . 11
K
Kambl, Johann A. . . . . . . . . . . . . . . . . . . . . . . . . 265
Karb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265
Kembter . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265
Kennedy, Alexander . . . . . . . . . . . . . . . . . . . . . . . 320
Kennedy, John . . . . . . . . . . . . . . . . . . . . . . . . . 320
Kennedy, Thomas . . . . . . . . . . . . . . . . . . . . . . . . 320
Kerlino, Joan, Viol-maker . . . . . . . . . . . . . . . . . . . 147
Kiaposse, Sawes . . . . . . . . . . . . . . . . . . . . . . . . 266
Kirchschlag . . . . . . . . . . . . . . . . . . . . . . . . . . 266
Klein-Geige, The . . . . . . . . . . . . . . . . . . . . . . . . 18
Kloz, Egidius . . . . . . . . . . . . . . . . . . . . . . . . . 266
Kloz, George . . . . . . . . . . . . . . . . . . . . . . . . . . 266
Kloz, Joseph . . . . . . . . . . . . . . . . . . . . . . . . . . 266
Kloz, J. Karl . . . . . . . . . . . . . . . . . . . . . . . . . 266
Kloz, Matthias, pupil of Stainer . . . . . . . . . . . . . . . . 266
Kloz, Sebastian, his work much esteemed . . . . . . . . . . . . 266
Knitting . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266
Knittle, Joseph . . . . . . . . . . . . . . . . . . . . . . . . 266
Kohl, Johann . . . . . . . . . . . . . . . . . . . . . . . . . . 266
Kolditz, J. . . . . . . . . . . . . . . . . . . . . . . . . . . 266
Kolditz, Mathias Johann . . . . . . . . . . . . . . . . . . . . 267
Koliker . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243
Kramer, H. . . . . . . . . . . . . . . . . . . . . . . . . . . . 267
Kriner, Joseph . . . . . . . . . . . . . . . . . . . . . . . . . 267
L
Labels as Trade-marks sometimes transferred . . . . . . . 118, 357
Lafont, Violinist . . . . . . . . . . . . . . . . . . . . . . . 394
Lagetto, Luigi . . . . . . . . . . . . . . . . . . . . . . . . . 147
Lamb, Charles, and his "ragged veterans" . . . . . . . . . . . . 358
Lambert, Jean Nicolas . . . . . . . . . . . . . . . . . . . . . 243
Lancetti, Vincenzo, extract from his MS. on Italian
Violin-making, 68; on Stradivari . . . . . . . . . . . . . . . 188
Landolfi, Carlo Ferdinando; high character of his work . . . . . 147
Lane's "Modern Egypt," and the Rebab . . . . . . . . . . . . . . 8
Lanza, Antonio Maria . . . . . . . . . . . . . . . . . . . . . . 148
Lapaix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244
Laprevotte, Etienne . . . . . . . . . . . . . . . . . . . . . . 244
Laska, Joseph . . . . . . . . . . . . . . . . . . . . . . . . . 267
Lavazza, Antonio . . . . . . . . . . . . . . . . . . . . . . . . 148
Lavazza, Santino . . . . . . . . . . . . . . . . . . . . . . . . 148
Leclair, Jean Marie, Violinist . . . . . . . . . . . . . . . . . 393
Leclerc . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244
Lecomte . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244
Leduc, Pierre . . . . . . . . . . . . . . . . . . . . . . . . . 244
Lefebvre . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244
Leigh Hunt on Paganini . . . . . . . . . . . . . . . . . . . . . 469
Le Jeune, Francois . . . . . . . . . . . . . . . . . . . . . . . 244
Lentz, Johann Nicolaus . . . . . . . . . . . . . . . . . . . . . 320
Leonardo da Vinci as a Violist . . . . . . . . . . . . . . . . . 375
Le Pileur, Pierre . . . . . . . . . . . . . . . . . . . . . . . 244
Lesclop, Francois Henry . . . . . . . . . . . . . . . . . . . . 244
Lewis, Edward . . . . . . . . . . . . . . . . . . . . . . . . . 321
Linarolli, Venturo . . . . . . . . . . . . . . . . . . . . . . . 148
Lindley, Robert, character of his stringing . . . . . . . . . . 51
Lipinski, composer . . . . . . . . . . . . . . . . . . . . . . . 396
Lister . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321
Living Stradivaris . . . . . . . . . . . . . . . . . . . . . . . 495
Locatelli as a composer . . . . . . . . . . . . . . . . . . . . 389
Lolli, his "feats on one string" . . . . . . . . . . . . . . . . 389
Loly, Jacopo . . . . . . . . . . . . . . . . . . . . . . . . . . 148
Lombardini, Paolo, his pamphlet on Stradivari, 178; his pedigree
of Stradivari's family . . . . . . . . . . . . . . . . . . . . 179
Lombardini, Signora Maddalena, letter from Tartini to, on the
art of Playing the Violin . . . . . . . . . . . . . . . . . . 501
Longman and Broderip, music-sellers . . . . . . . . . . . . . . 321
"Long Strad," The . . . . . . . . . . . . . . . . . . . . . . . 195
Lott, George Frederick, a clever workman . . . . . . . . . . . . 322
Lott, John Frederick, employed by Dodd, and a first-class
workman; high character of his Double-Basses . . . . . . . . . 321
Lott, John Frederick (2), a clever copyist, and the original of
Charles Reade's "Jack of all Trades" . . . . . . . . . . . . . 322
Louis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244
Louvet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244
Lulli, Jean Baptiste, Violinist to Louis XIV.; his influence as
a composer . . . . . . . . . . . . . . . . . . . . . . . . . . 381
Lupot, Francois . . . . . . . . . . . . . . . . . . . . . . . . 244
Lupot, Jean . . . . . . . . . . . . . . . . . . . . . . . . . . 244
Lupot, Laurent . . . . . . . . . . . . . . . . . . . . . . . . . 244
Lupot, Nicolas; famous as a copier of Stradivari; maker to the
Conservatoire; genuine character of his work, as to form,
varnish, and telling quality of tone . . . . . . . . . . . . . 244
M
Mace, Thomas, on the prices and choice of Lutes and Viols . . . 334
Macintosh . . . . . . . . . . . . . . . . . . . . . . . . . . . 322
Madrigal, The, sixteenth century . . . . . . . . . . . . . . . . 21
Maggini, Giovanni Paolo, pupil of Gasparo da Salo; other makers'
work frequently attributed to him; comparison of his
instruments with those of Gasparo; De Beriot's use of his
instruments . . . . . . . . . . . . . . . . . . . . . . . . . 149
Maler, Laux, Lute-maker (the "Stradivari of Lutes"); Thomas Mace
on the prices of these instruments . . . . . . . . . . . . . . 150
Mann, Hans . . . . . . . . . . . . . . . . . . . . . . . . . . . 267
Mantegazza, Pietro Giovanni, maker and repairer of Violins and
Tenors; good work; patronised by Count Cozio . . . . . . . . . 151
Manuscripts, Illuminated, of the Middle Ages . . . . . . . . . . 12
Maratti . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
Marchetti . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
Mariani, Antonio . . . . . . . . . . . . . . . . . . . . . . . . 152
Marquis de Lair . . . . . . . . . . . . . . . . . . . . . . . . 247
Marshall . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323
Martin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323
Mast, Jean Laurent . . . . . . . . . . . . . . . . . . . . . . . 247
Mast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
Maucotel, Charles . . . . . . . . . . . . . . . . . . . . . . . 247
Maucotel, Charles Adolphe . . . . . . . . . . . . . . . . . . . 248
Maussiell, Leonard . . . . . . . . . . . . . . . . . . . . . . . 267
Maher (Maier), Andreas . . . . . . . . . . . . . . . . . . . . . 267
Mayseder, Joseph, Violinist . . . . . . . . . . . . . . . . . . 408
Mayson, W. H. . . . . . . . . . . . . . . . . . . . . . . . . . 323
Meares, Richard . . . . . . . . . . . . . . . . . . . . . . . . 323
Medard, Francois . . . . . . . . . . . . . . . . . . . . . . . . 248
Medard, Jean . . . . . . . . . . . . . . . . . . . . . . . . . . 248
Medard, Nicolas . . . . . . . . . . . . . . . . . . . . . . . . 248
Meiberi, Francesco . . . . . . . . . . . . . . . . . . . . . . . 152
"Memoirs of Music," Roger North's . . . . . . . . . . . . . . . 13
Mendelssohn and Haydn as performers on the Violin . . . . . . . 407
Mennegand, Charles, distinguished as a maker, and also as a
repairer and "cutter" . . . . . . . . . . . . . . . . . . . . 248
Messeguer . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
Meusidler, Johann . . . . . . . . . . . . . . . . . . . . . . . 267
Mezadri, Alessandro . . . . . . . . . . . . . . . . . . . . . . 152
Mezadri, Francesco . . . . . . . . . . . . . . . . . . . . . . . 152
"Michael Schnapps," the Fiddle Ogre . . . . . . . . . . . . . . 487
Mier . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323
Miremont, Claude Augustin, excellent work as a copyist . . . . . 249
Missing Scroll, A . . . . . . . . . . . . . . . . . . . . . . . 452
Modena, Duke of, and Stradivari . . . . . . . . . . . . . . . . 191
Modessier . . . . . . . . . . . . . . . . . . . . . . . . . . . 249
Mohr, Philip . . . . . . . . . . . . . . . . . . . . . . . . . . 267
Moldonner . . . . . . . . . . . . . . . . . . . . . . . . . . . 267
Molique, Bernard, Violinist, and composer . . . . . . . . . . . 408
Monochord, Arabian invention of . . . . . . . . . . . . . . . . 7
Montagnana, Domenico, pupil of Antonio Stradivari; termed "the
Mighty Venetian;" his work frequently attributed to other
great makers; comparison of work with that of his
fellow-maker, Carlo Bergonzi; increasing popularity of his
instruments; high character of his varnish . . . . . . . 152-157
Montagnana instrument shot through the body, A . . . . . . . . . 456
Montaldi, Gregorio . . . . . . . . . . . . . . . . . . . . . . . 157
Monteverde, Claudio, his opera "Orfeo" . . . . . . . . . . . . . 378
Morella, famous for Viols and Lutes . . . . . . . . . . . . . . 157
Moorish influence on music in Spain . . . . . . . . . . . . . . 10
Mori, Nicholas, Violinist, and the Royal Academy of Music . . . 401
Morisca, or Morris Dance, The . . . . . . . . . . . . . . . . . 10
Mornington, Earl of, his early development of musical taste . . 399
Morris Dance, The . . . . . . . . . . . . . . . . . . . . . . . 10
Morrison, John . . . . . . . . . . . . . . . . . . . . . . . . . 323
Mougenot, G. . . . . . . . . . . . . . . . . . . . . . . . . . . 250
Mozart, Leopold, and his "Method" for the Violin; his early
musical genius . . . . . . . . . . . . . . . . . . . . . . . . 407
Musical strings, materials used and places of manufacture . . . 46
Musicians, Royal Society of, its origin . . . . . . . . . . . . 398
"Musick's Monument" of Thomas Mace . . . . . . . . . . . . . . . 150
N
Nadotti, Giuseppe . . . . . . . . . . . . . . . . . . . . . . . 158
Namy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
Naylor, Isaac . . . . . . . . . . . . . . . . . . . . . . . . . 323
Neck of the Violin, Form and material of . . . . . . . . . . . . 39
Nella, Raffaele . . . . . . . . . . . . . . . . . . . . . . . . 158
Netherlands, love of music in the . . . . . . . . . . . . . . . 21
Nezot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
Nichols, E. . . . . . . . . . . . . . . . . . . . . . . . . . . 323
Nicolas, Didier, Stradivari copyist; good tone . . . . . . . . . 250
Nicolas, Francois (Nicolas Fourrier) . . . . . . . . . . . . . . 250
Nicolas, Joseph . . . . . . . . . . . . . . . . . . . . . . . . 250
Niggel, Simpertus . . . . . . . . . . . . . . . . . . . . . . . 267
Norborn, John . . . . . . . . . . . . . . . . . . . . . . . . . 323
Norman, Barak, his instruments best of old English character;
worked with Nathaniel Cross; follower of Maggini model . . . . 323
Norris John . . . . . . . . . . . . . . . . . . . . . . . . . . 325
North, Hon. Roger, his "Memoirs of Music" . . . . . . . . . . . 13
Number of constituent parts of the Violin . . . . . . . . . . . 35
O
Obelisk, Egyptian, stringed instruments on . . . . . . . . . . . 6
Ohberg, Johann . . . . . . . . . . . . . . . . . . . . . . . . . 267
"Old Borax," and the Fiddle Trade . . . . . . . . . . . . . . . 483
Old Masters, their great care in selection of material . . . . . 33
Ole Bull and Fiddle varnish . . . . . . . . . . . . . . . . . . 500
"Orfeo," The, of Monteverde . . . . . . . . . . . . . . . . . . 378
Orpheus and Apollo . . . . . . . . . . . . . . . . . . . . . . . 3
Orsini, Cardinal, and Stradivari . . . . . . . . . . . . . . . . 190
Ortega . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
Ott, Johann . . . . . . . . . . . . . . . . . . . . . . . . . . 268
Otto, C. U. F. . . . . . . . . . . . . . . . . . . . . . . . . . 268
Otto, Carl . . . . . . . . . . . . . . . . . . . . . . . . . . . 268
Otto, Christian . . . . . . . . . . . . . . . . . . . . . . . . 268
Otto, Georg August . . . . . . . . . . . . . . . . . . . . . . . 268
Otto, Heinrich . . . . . . . . . . . . . . . . . . . . . . . . . 268
Otto, Jacob August . . . . . . . . . . . . . . . . . . . . . . . 268
Otto, Ludwig . . . . . . . . . . . . . . . . . . . . . . . . . . 268
Ouvrard, Jean . . . . . . . . . . . . . . . . . . . . . . . . . 250
P
Pacherel . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
Pacherele, Michel . . . . . . . . . . . . . . . . . . . . . . . 250
Paganini's Guarneri Violin, where now deposited, and anecdote
of, 340; extraordinary character of his work and career . . . 392
Paganini, Leigh Hunt on . . . . . . . . . . . . . . . . . . . . 469
Pamphilon, Edward . . . . . . . . . . . . . . . . . . . . . . . 325
Pandolfi, Antonio . . . . . . . . . . . . . . . . . . . . . . . 158
Panormo, George Lewis . . . . . . . . . . . . . . . . . . . . . 325
Panormo, Joseph, excellent work . . . . . . . . . . . . . . . . 325
Panormo, Louis . . . . . . . . . . . . . . . . . . . . . . . . . 325
Panormo, Vincenzo; follower of Antonio Stradivari, and famous as
a genuine copyist; his struggles with adversity; comparison of
his work with that of Lupot . . . . . . . . . . . . . . . . . 158
Pansani, Antonio . . . . . . . . . . . . . . . . . . . . . . . . 160
Paolo Veronese, his picture of "The Marriage of Cana" . . . . . 376
Parker, Daniel, a good Old English maker . . . . . . . . . . . . 325
Parth, Andreas Nicholas . . . . . . . . . . . . . . . . . . . . 268
Pasta, Antonio . . . . . . . . . . . . . . . . . . . . . . . . . 160
Pasta, Domenico . . . . . . . . . . . . . . . . . . . . . . . . 160
Paul, Saint . . . . . . . . . . . . . . . . . . . . . . . . . . 250
Pazzini, G. . . . . . . . . . . . . . . . . . . . . . . . . . . 160
Pearce, James . . . . . . . . . . . . . . . . . . . . . . . . . 326
Pedigree of the family of Antonio Stradivari . . . . . . . . . . 179
Pemberton, Edward . . . . . . . . . . . . . . . . . . . . . . . 326
Perry and Wilkinson, good quality and finish . . . . . . . . . . 326
Pfretzschner, Carl Friedrich . . . . . . . . . . . . . . . . . . 269
Pfretzschner, Gottlob . . . . . . . . . . . . . . . . . . . . . 268
Philharmonic Society, and Michael C. Festing . . . . . . . . . . 398
Philip V. of Spain, his visit to Cremona . . . . . . . . . . . . 204
Phillips, a Welsh Violinist, Dr. Johnson's Epitaph on . . . . . 431
Picino, G. . . . . . . . . . . . . . . . . . . . . . . . . . . . 160
Pierray, Claude, excellent work, Italian character, good
varnish; an example possessed by Tom Britton . . . . . . . . . 250
Piete, N. . . . . . . . . . . . . . . . . . . . . . . . . . . . 251
Pique, F. L., copyist of Stradivari, school of Lupot; good
material and workmanship . . . . . . . . . . . . . . . . . . . 251
Pirot, Claude . . . . . . . . . . . . . . . . . . . . . . . . . 252
Plack, F. . . . . . . . . . . . . . . . . . . . . . . . . . . . 269
Platner, Michel, resemblance of his work to that of Tecchler . . 160
Pleasures of Imagination . . . . . . . . . . . . . . . . . . . . 497
Plectrum, Reference to . . . . . . . . . . . . . . . . . . . . . 5
Plowden Collection, The . . . . . . . . . . . . . . . . . . . . 367
Pollitzer, Adolphe . . . . . . . . . . . . . . . . . . . . . . . 396
Pollusca, Antonio . . . . . . . . . . . . . . . . . . . . . . . 161
Pons, Cesar . . . . . . . . . . . . . . . . . . . . . . . . . . 252
Pons, Guitar-maker . . . . . . . . . . . . . . . . . . . . . . . 252
Pope Pius IX. and the musician . . . . . . . . . . . . . . . . . 499
Porlon, Peeter (or Borlon) . . . . . . . . . . . . . . . . . . . 233
Possen, L. . . . . . . . . . . . . . . . . . . . . . . . . . . . 269
Postiglione, V. . . . . . . . . . . . . . . . . . . . . . . . . 161
Powell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326
Pressenda, Giovanni Francesco, high character of his work, and
especially of his varnish; his instruments of Amatese and
Stradivarian models . . . . . . . . . . . . . . . . . . . . . 161
Preston, John . . . . . . . . . . . . . . . . . . . . . . . . . 327
Prices of Violins, &c., at various periods . . . . . . . . . 334-338
"Prison Fiddles," of Guarneri del Gesu . . . . . . . . . . . . . 140
Progress of the Violin . . . . . . . . . . . . . . . . . . . . . 375
Provence and the origin of the Geige . . . . . . . . . . . . . . 18
Ptolemeus, Claudius, on Harmonic Sounds . . . . . . . . . . . . 6
Puppo, Violinist, Anecdote of . . . . . . . . . . . . . . . . . 495
Purcell, Henry, his Sonatas . . . . . . . . . . . . . . . . . . 383
Purfling of the Violin, 40; of the Brothers Amati . . . . . . . 84
Q
Quack Violin-Doctors . . . . . . . . . . . . . . . . . . . . . . 41
Quantz, Johann, Flautist, and Frederick the Great . . . . . . . 269
Quartette Association, The . . . . . . . . . . . . . . . . . . . 402
R
Rabenalt, Theodore, his drama, "Jacob Stainer" . . . . . . . . . 277
Racceris . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
Rambaux, Claude Victor, a clever repairer . . . . . . . . . . . 252
Rance, T. . . . . . . . . . . . . . . . . . . . . . . . . . . . 252
Rauch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269
Rauch, Jacob . . . . . . . . . . . . . . . . . . . . . . . . . . 269
Rauch, Sebastian . . . . . . . . . . . . . . . . . . . . . . . . 269
Raut, Jean . . . . . . . . . . . . . . . . . . . . . . . . . . . 252
Ravanon, King of Ceylon, and his instrument called the
"Ravanastron" . . . . . . . . . . . . . . . . . . . . . . . . 4
Rawlins, Henry, patronised by Giardini . . . . . . . . . . . . . 327
Rayman, Jacob, founder of English Violin-making; good character
of work and varnish . . . . . . . . . . . . . . . . . . . . . 327
Reade, Charles, on the "Four Corners" of the Violono, 25; on the
Violins of Stradivari, 201; on the art of "cutting," 249; his
letter on the Betts Stradivari . . . . . . . . . . . . . . . . 467
Rebab, taken to Spain by the Moors, 7; in Egypt . . . . . . . . 8
Rebec, Origin of . . . . . . . . . . . . . . . . . . . . . . . . 7
Reichel, Johann Conrad . . . . . . . . . . . . . . . . . . . . . 269
Reichel, Johann Gottfried . . . . . . . . . . . . . . . . . . . 269
Reichers, August . . . . . . . . . . . . . . . . . . . . . . . . 269
Remy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252
Remy, Jean Mathurin . . . . . . . . . . . . . . . . . . . . . . 252
Remy, Jules . . . . . . . . . . . . . . . . . . . . . . . . . . 252
Renaudin, Leopold . . . . . . . . . . . . . . . . . . . . . . . 252
Renault, Nicolas . . . . . . . . . . . . . . . . . . . . . . . . 252
Ribeca, alleged Arabian origin . . . . . . . . . . . . . . . . . 7
Richards, Edwin . . . . . . . . . . . . . . . . . . . . . . . . 328
Riess . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269
Rinaldi, Gioffredo . . . . . . . . . . . . . . . . . . . . . . . 163
Rivolta, G. . . . . . . . . . . . . . . . . . . . . . . . . . . 164
Rocca, J. A. . . . . . . . . . . . . . . . . . . . . . . . . . . 164
Rode, Violinist and composer, his Caprices and Concertos, and
his Instruction Book . . . . . . . . . . . . . . . . . . . . 394
Rodiani, G. . . . . . . . . . . . . . . . . . . . . . . . . . . 164
Rogeri, Giovanni Battista, pupil of Niccolo Amati; his work
highly valued . . . . . . . . . . . . . . . . . . . . . . . . 164
Rogeri, Pietro Giacomo, pupil of N. Amati; good work; excellent
varnish . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
Rogers, Dr. Benjamin, his four-part Airs for Violins . . . . . . 381
Rombouts, Peeter . . . . . . . . . . . . . . . . . . . . . . . . 252
Rook, Joseph . . . . . . . . . . . . . . . . . . . . . . . . . . 328
Roscher, C. . . . . . . . . . . . . . . . . . . . . . . . . . . 269
Ross, John . . . . . . . . . . . . . . . . . . . . . . . . . . . 328
Rosse (or Ross) . . . . . . . . . . . . . . . . . . . . . . . . 328
Rota, Giovanni . . . . . . . . . . . . . . . . . . . . . . . . . 164
Roth, Christian . . . . . . . . . . . . . . . . . . . . . . . . 269
Rousseau, Jean, his Treatise on the Viol . . . . . . . . . . . . 3
Rovetta . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
Royal Amateur, A. . . . . . . . . . . . . . . . . . . . . . . . 498
Royal Band of Charles II., its poverty . . . . . . . . . . . . . 382
Royal Society of Musicians, Origin of . . . . . . . . . . . . . 398
Roze . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253
Ruf, Herr S., his History of Jacob Stainer . . . . . . . . . . . 275
Ruggeri, Francesco ("Il Per"); excellent character of
workmanship, design, and varnish; pupil of Niccolo Amati . . . 165
Ruggeri, Giacinto . . . . . . . . . . . . . . . . . . . . . . . 167
Ruggeri, Giambattista, high-class work in Violins, Violas, and
Violoncellos . . . . . . . . . . . . . . . . . . . . . . . . . 167
Ruggeri, Vincenzo . . . . . . . . . . . . . . . . . . . . . . . 167
Ruppert, Franz . . . . . . . . . . . . . . . . . . . . . . . . . 269
Ruppert, J. N. . . . . . . . . . . . . . . . . . . . . . . . . . 269
S
Sacchini, S. . . . . . . . . . . . . . . . . . . . . . . . . . . 168
Sacquin . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253
Sainprae, Jacques . . . . . . . . . . . . . . . . . . . . . . . 269
Sainton, M., Violinist . . . . . . . . . . . . . . . . . . . . . 395
Salabue, Count Cozio di, his passion for and collection of
Violins, 359; his correspondence relative to his purchase of
the reliques of Antonio Stradivari . . . . . . . . . . . . . . 360
Sale of Cremonese Instruments in 1790 . . . . . . . . . . . . . 493
Salle, a clever restorer . . . . . . . . . . . . . . . . . . . . 253
Salo, Gasparo da . . . . . . . . . . . . . . . . . . . . . . 168-170
Salomon, Jean Baptiste, maker . . . . . . . . . . . . . . . . . 253
Salomon, Violinist, his concerts in London; his negotiations
with Haydn . . . . . . . . . . . . . . . . . . . . . . . . . . 400
San Domenico, Cremona, burial-place of Stradivari . . . . . . . 212
Sanoni, Giovanni Battista . . . . . . . . . . . . . . . . . . . 172
Sanscrit Literature, References to the Violin in . . . . . . . . 5
Santo, Giovanni . . . . . . . . . . . . . . . . . . . . . . . . 172
Sanzo, Milan . . . . . . . . . . . . . . . . . . . . . . . . . . 172
Saraband, Moorish . . . . . . . . . . . . . . . . . . . . . . . 10
Sardagna, Counsellor Von, his contribution to Jacob Stainer's
history . . . . . . . . . . . . . . . . . . . . . . . . . . . 276
Sardi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
Saunier . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253
Savart, his paper on the construction of bow instruments . . . . 234
Sawicki . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270
Saxon Fiddle, in the Cottonian MSS. . . . . . . . . . . . . . . 16
Scandinavian origin of the Violin, alleged . . . . . . . . . . . 13
Scheinlein, Johann Michael . . . . . . . . . . . . . . . . . . . 270
Scheinlein, Mathias F. . . . . . . . . . . . . . . . . . . . . . 270
Schell, Sebastian . . . . . . . . . . . . . . . . . . . . . . . 270
Schlick . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270
Schmidt . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270
Schnoeck, Egidius . . . . . . . . . . . . . . . . . . . . . . . 253
Schonfelder, Johann A. . . . . . . . . . . . . . . . . . . . . . 270
Schonger, Georg . . . . . . . . . . . . . . . . . . . . . . . . 270
Schonger, Franz . . . . . . . . . . . . . . . . . . . . . . . . 270
Schorn, Johann, an excellent maker . . . . . . . . . . . . . . . 271
Schorn, Johann Paul . . . . . . . . . . . . . . . . . . . . . . 271
Schott, Martin, Lute-maker . . . . . . . . . . . . . . . . . . . 271
Schuler, Dr. Johann, his novel, "Jacob Stainer" . . . . . . . . 276
Schwartz . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271
Schweitzer . . . . . . . . . . . . . . . . . . . . . . . . . . . 271
Scott, Sir Walter, on Music and Fiddles . . . . . . . . . . . . 446
Scroll, A Wandering . . . . . . . . . . . . . . . . . . . . . . 455
Sellas, Matteo, Lute-maker . . . . . . . . . . . . . . . . . . . 172
Serafino, Santo (Sanctus Seraphin), famed for exquisite finish;
German and Italian models; excellent varnish and handsome
wood, but style inferior, and lacking originality . . . . . . 172
Shaw, Dr., his "Travels in the East" . . . . . . . . . . . . . . 7
Shaw . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328
Silvestre, Hippolyte . . . . . . . . . . . . . . . . . . . . . . 254
Silvestre, Hippolyte Chretien . . . . . . . . . . . . . . . . . 254
Silvestre, Pierre, copyist of Stradivari, of high order and
exquisite finish; fellow worker with Lupot and Gand . . . . . 253
Simon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254
Simonin . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254
Simpson . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328
Simpson, Dr. Christopher, Anecdote of . . . . . . . . . . . . . 423
Sivori, Camillo, his high artistic career . . . . . . . . . . . 392
"Skit," A musical . . . . . . . . . . . . . . . . . . . . . . . 425
"Slab-back" and "Whole-back," The . . . . . . . . . . . . . . . 32
Smith, Henry . . . . . . . . . . . . . . . . . . . . . . . . . . 328
Smith, Thomas . . . . . . . . . . . . . . . . . . . . . . . . . 328
Smith, William . . . . . . . . . . . . . . . . . . . . . . . . . 328
Sneider, Josefo; many of Girolamo Amati's instruments attributed
to this maker . . . . . . . . . . . . . . . . . . . . . . . . 174
Socchi, Vincenzo . . . . . . . . . . . . . . . . . . . . . . . . 174
Socquet, Louis . . . . . . . . . . . . . . . . . . . . . . . . . 254
"Sonata del Diavolo," Tartini's . . . . . . . . . . . . . . . . 427
Sonatas, Earliest appearance of . . . . . . . . . . . . . . . . 379
Sorsana . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
Sound-bar, oblique position of, 35; its purpose and character . 36
Sound-holes, crescent-shaped, 22; of Gasparo and Amati, 80;
shape and importance of . . . . . . . . . . . . . . . . . . . 40
Sound-post, its purpose and service, 36; its position, 37;
methods of fixing . . . . . . . . . . . . . . . . . . . . . . 38
Spohr, Louis, Violinist and composer; his Quartettes and Duets . 408
Spohr and his Guarneri . . . . . . . . . . . . . . . . . . . . . 478
Spohr and the Collector . . . . . . . . . . . . . . . . . . . . 480
"Sports and Pastimes," Strutt's . . . . . . . . . . . . . . . . 16
Stadelmann, Daniel . . . . . . . . . . . . . . . . . . . . . . . 271
Stadelmann, Johann Joseph . . . . . . . . . . . . . . . . . . . 271
Stainer, Andreas . . . . . . . . . . . . . . . . . . . . . . . . 280
Stainer, Jacob, the greatest of German artists; his popularity;
Sir John Hawkins' estimate of his work; originality and
peculiarity of his model; variation in style; his "Elector
Stainers;" his personal history, by Herr S. Ruf and Counsellor
Von Sardagna; Dr. Johann Schuler's novel, "Jacob Stainer;" his
marriage; his imprisonment for heresy; his poverty and sad
death; his numerous followers and libellists . . . . . . . 271-280
Stainer, Markus . . . . . . . . . . . . . . . . . . . . . . . . 280
Statlee . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
Staugtinger, Mathias . . . . . . . . . . . . . . . . . . . . . . 280
Steininger, Franz . . . . . . . . . . . . . . . . . . . . . . . 281
Steininger, Jacob . . . . . . . . . . . . . . . . . . . . . . . 281
Sterne, Laurence, on Hobby-horses . . . . . . . . . . . . . . . 331
Stolen "Strad," A . . . . . . . . . . . . . . . . . . . . . . . 449
Storioni, Lorenzo, follower of Guarneri del Gesu; his freak as
to placing the sound-holes; his Violins roughly finished, but
valued for acoustical properties . . . . . . . . . . . . . . . 174
Stoss . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281
Stoss, Martin . . . . . . . . . . . . . . . . . . . . . . . . . 281
Stradivari, Antonio, date of birth, 178; Paolo Lombardini's
pamphlet on his life, 185; his marriage, and pedigree of his
family, 178-179; affinity of his work with that of his
master, Niccolo Amati, 182; second epoch, and change of
style, 189-190; possessor of the tools and models of N.
Amati, 184; his house at Cremona, 187; extracts from
Desiderio Arisi, 185; Vincenzo Lancetti on the purchase of
Stradivari's models and tools by Count Cozio di Salabue;
the letters of Paolo and Antonio Stradivari, junior, in
reference thereto, 188; splendid character of his varnish,
198; Cardinal Orsini's and the Duke of Modena's patronage,
190-191; the "Long Strad," 195; his work for the Spanish Court
and for the Grand Duke of Tuscany, 193; letter of Marquis
Ariberti, 193; a "Concerto of Violins," 194; the "golden
period," 197; the "Betts Strad," 466; variations in qualities
of wood, 200; the "Dolphin Strad," 200; Prince Eugene and war
in Cremona, 203; visit of Philip V. of Spain to Italy, and
entry into Cremona, 204; Stradivari's instruments for
presentation to Philip 204, and to the Archduke Charles of
Austria, 206; letter of Lorenzo Giustiniani to Stradivari,
206; characteristics of the instruments of his later period,
209-211; place of his burial, 212-214; indifference of
Stradivari's own townsmen as to his remains, 215; further
notice of Count Cozio di Salabue relative to the Stradivari
reliques . . . . . . . . . . . . . . . . . . . . . . . . . . . 359
Stradivari, Francesco, son and successor of Antonio; excellent
character of work, age, and date of death . . . . . . . . . . 217
Stradivari, Omobono, successor to the business of his father
Antonio . . . . . . . . . . . . . . . . . . . . . . . . . . . 218
Stradivari, Paolo, cloth merchant; his correspondence with Count
Cozio di Salabue relative to the Stradivari reliques 219, 360-364
Straube . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281
Strauss, Joseph . . . . . . . . . . . . . . . . . . . . . . . . 281
Stregner, Magno, Lute-maker . . . . . . . . . . . . . . . . . . 174
Strings, Italian and other, causes of variation in the quality
of; how to choose them; material used in their manufacture;
experiments on the tension of . . . . . . . . . . . . . . . 43-56
Sursano, Spirito . . . . . . . . . . . . . . . . . . . . . . . . 219
T
Tanegia, Carlo Antonio . . . . . . . . . . . . . . . . . . . . . 219
Taningard, Giorgio . . . . . . . . . . . . . . . . . . . . . . . 219
Tarisio, Luigi, and his collection of Violins; his singular
career and character, and painful end . . . . . . . . . . 344-356
Tarr, W. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328
Tartini, Giuseppe; his musical compositions; high opinion of Dr.
Burney on . . . . . . . . . . . . . . . . . . . . . . . . . . 388
Tartini, Signor, on the treatment of the Violin . . . . . . . . 501
Taylor, meritorious work . . . . . . . . . . . . . . . . . . . . 329
Tecchler . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
Tedesco . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220
Tension and pressure of Violin Strings . . . . . . . . . . . . . 54
Testore, Carlo Antonio, excellent work . . . . . . . . . . . . . 220
Testore, Carlo Giuseppe . . . . . . . . . . . . . . . . . . . . 220
Testore, Giovanni . . . . . . . . . . . . . . . . . . . . . . . 220
Testore, Paolo Antonio . . . . . . . . . . . . . . . . . . . . . 220
Teutonic origin of the Violin . . . . . . . . . . . . . . . . . 17
Thackeray on Orchestral Music . . . . . . . . . . . . . . . . . 471
Theress, Charles . . . . . . . . . . . . . . . . . . . . . . . . 254
Thibout, Jacques Pierre, a well-known dealer, and excellent
workman; his relations with Luigi Tarisio . . . . . . . . . . 254
Thomassin . . . . . . . . . . . . . . . . . . . . . . . . . . . 254
Thompson . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329
Thorowgood, Henry . . . . . . . . . . . . . . . . . . . . . . . 329
Three-stringed Violins . . . . . . . . . . . . . . . . . . . . . 25
Tieffenbrucker, Leonardo . . . . . . . . . . . . . . . . . . . . 220
Tieffenbrucker . . . . . . . . . . . . . . . . . . . . . . . . . 281
Tielke, Joachim, Lute and Guitar-maker; magnificent
ornamentation of his work . . . . . . . . . . . . . . . . . . 281
Tielke, Joachim, Viol and Violin-maker, examples in the
Kensington collection . . . . . . . . . . . . . . . . . . . . 282
Tilley, Thomas . . . . . . . . . . . . . . . . . . . . . . . . . 329
Tobin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329
Tobin, Richard . . . . . . . . . . . . . . . . . . . . . . . . . 329
Todini, Michele, his musical clock-work, and new mode of
stringing the Violono . . . . . . . . . . . . . . . . . . . . 220
Tononi, Carlo Antonio . . . . . . . . . . . . . . . . . . . . . 221
Tononi, Carlo, excellent work and varnish . . . . . . . . . . . 221
Tononi, Felice . . . . . . . . . . . . . . . . . . . . . . . . . 222
Tononi, Giovanni, high-class work . . . . . . . . . . . . . . . 222
Tononi, Guido . . . . . . . . . . . . . . . . . . . . . . . . . 222
Traditional History of Cremonese makers (see Ceruti, Enrico) . . 108
Trapani, Raffaele . . . . . . . . . . . . . . . . . . . . . . . 222
Trinity in Unity, Musical illustration of . . . . . . . . . . . 423
Troubadours and Trouveres . . . . . . . . . . . . . . . . . . . 10
Tywersus . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254
U
Urquhart, Thomas, high-class work and excellent varnish . . . . 329
V
Vaillant, Francois . . . . . . . . . . . . . . . . . . . . . . . 254
Valentine William . . . . . . . . . . . . . . . . . . . . . . . 329
Valenzano, G. M. . . . . . . . . . . . . . . . . . . . . . . . . 222
"Varnish, Dodd's" . . . . . . . . . . . . . . . . . . . . . . . 302
Varnish, Italian, that of the several Schools compared . . . . . 70
Venetian Catlins . . . . . . . . . . . . . . . . . . . . . . . . 46
Veracini, Solo Violinist, 208, 379; J. B. Volumier, and
Stradivari . . . . . . . . . . . . . . . . . . . . . . . . . . 207
Veronese, Paolo, his "Marriage at Cana" . . . . . . . . . . . . 375
Veron, Pierre . . . . . . . . . . . . . . . . . . . . . . . . . 255
Vetrini, Battista . . . . . . . . . . . . . . . . . . . . . . . 222
Vibrecht, Gysbert . . . . . . . . . . . . . . . . . . . . . . . 255
Vieuxtemps, Henri, his Concertos . . . . . . . . . . . . . . . . 396
Vimercati, Paolo . . . . . . . . . . . . . . . . . . . . . . . . 222
Viola da Braccia, The . . . . . . . . . . . . . . . . . . . . . 13
Viola di Bordone, The . . . . . . . . . . . . . . . . . . . . . 270
Violin, construction of the, 27; three-stringed, 25;
four-stringed, 26; acoustical properties of the . . . . . . . 30
Violin, Tartini on the art of Playing . . . . . . . . . . . . . 501
Violins, from a medical point of view . . . . . . . . . . . . . 424
Violin, The, and its Votaries . . . . . . . . . . . . . . . . . 331
Violinist, An indefatigable . . . . . . . . . . . . . . . . . . 495
Violono, or Bass-Viol, of Gasparo da Salo . . . . . . . . . . . 24
Viols, Ancient, by Hieronymus Brensius . . . . . . . . . . . . . 103
Viols in connection with Madrigal and with Church Service . 21, 377
Viotti, Giovanni Battista, high character of his compositions . 390
Voel, E., excellent character of work . . . . . . . . . . . . . 282
Vogel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282
Vogler, Johann Georg . . . . . . . . . . . . . . . . . . . . . . 283
Voigt, Martin . . . . . . . . . . . . . . . . . . . . . . . . . 283
Voleme (Volumier), G. B., musical director to the King of
Poland, and Stradivari's set of twelve Violins . . . . . . . . 207
Vuillaume, Claude Francois . . . . . . . . . . . . . . . . . . . 255
Vuillaume, Jean . . . . . . . . . . . . . . . . . . . . . . . . 255
Vuillaume, J. B., a prolific maker and excellent workman, 255;
his association with Tarisio, and purchase of his collection . 356
Vuillaume, N. F., maker and connoisseur . . . . . . . . . . . . 255
Vuillaume, Sebastien . . . . . . . . . . . . . . . . . . . . . . 255
W
Wagner, Joseph . . . . . . . . . . . . . . . . . . . . . . . . . 283
Wamsley, Peter, high-class English maker . . . . . . . . . . . . 329
Wandering Scroll, A . . . . . . . . . . . . . . . . . . . . . . 455
Waterloo Purse, and _Stradivarius_ . . . . . . . . . . . . . . . 217
Weickert . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283
Weigert . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283
Weiss, Jacob . . . . . . . . . . . . . . . . . . . . . . . . . . 283
Wenger, G. F. . . . . . . . . . . . . . . . . . . . . . . . . . 283
Wenger, Lute-maker . . . . . . . . . . . . . . . . . . . . . . . 222
Widhalm (or Withalm), Leopold, a high-class imitator of Stainer 283
Wieniawski, Henri . . . . . . . . . . . . . . . . . . . . . . . 396
Willaert, Adrian, the "Father of the Madrigal" . . . . . . . . . 21
Wise, Christopher . . . . . . . . . . . . . . . . . . . . . . . 329
Wish, A. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 495
Withers, Edward . . . . . . . . . . . . . . . . . . . . . . . . 329
Withers, Edward (2) . . . . . . . . . . . . . . . . . . . . . . 330
Witting, J. G. . . . . . . . . . . . . . . . . . . . . . . . . . 283
"Wolf-notes" . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Woods, various, used in the manufacture of the Violin . . . . . 31
Wyemann, Cornelius . . . . . . . . . . . . . . . . . . . . . . . 283
Y
Young, father and son, and Purcell's catch . . . . . . . . . . . 330
Z
Zannetto, Viol-maker . . . . . . . . . . . . . . . . . . . . . . 222
Zanola . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222
Zanoli . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223
Zanotti, A. . . . . . . . . . . . . . . . . . . . . . . . . . . 223
Zanti, Alessandro . . . . . . . . . . . . . . . . . . . . . . . 223
Zanure, Viol-maker . . . . . . . . . . . . . . . . . . . . . . . 223
Zenatto . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223
Zwerger, Antoni . . . . . . . . . . . . . . . . . . . . . . . . 283
The Gresham Press,
UNWIN BROTHERS, LIMITED,
WOKING AND LONDON.
The Violin and its Music
BY
GEORGE HART
Illustrated with several Steel Engravings of
Eminent Violinists.
FORMING THE COMPANION VOLUME
TO
THE VIOLIN AND ITS FAMOUS MAKERS.
"The broad range of interest in the book which appears at the very
beginning, and the evident appreciation of the romantic, as well as
the practical side of the question, shows that the man is not merged
in the specialist, and that outsiders, as well as experts, may look to
find amusement as well as instruction therein. The range of the book
is of the widest."--_Saturday Review_.
"A sufficient account is given of the various schools of composers and
_virtuosi_ in the musical countries of Europe, from Corelli down to
Vieuxtemps and Joachim. The author's judgment is in most cases fair
and unbiassed, and his diction agreeably free from the current jargon
of musical criticism.... The value of Mr. Hart's volume is increased
by carefully engraved portraits of Corelli, Viotti, Paganini, and
other masters."--_Times_.
QUARTO EDITION . . . . . . . . . . 31/6
OCTAVO (without Portraits) . . . . 10/-
EDITION DE LUXE TIREE SUR PAPIER WHATMAN.
_Nouvelle edition d'environ 400 pages_. _Prix 70 francs_.
ENRICHIE DE PLUS DE SOIXANTE GRAVURES.
LE VIOLON:
SES FAMEUX LUTHIERS ET LEURS IMITATEURS.
PAR
GEORGE HART.
_TRADUIT DE L'ANGLAIS PAR ALPHONSE ROYER_.
L'Edition in Octavo 12 francs.
La nouvelle Edition soigneusement revue et augmentee de cet important
ouvrage contient la liste descriptive de Luthiers la plus complete qui
ait paru jusqu' ici: elle offre de plus au lecteur une notice
circonstanciee sur ANTOINE STRADIVARIUS.
L'auteur a eclaire cette notice d'un jour nouveau et y a jete un vif
eclat par les details pleins d'interet qu'il a puises dans les
manuscrits authentiques de Cremone et par les nombreux extraits qu'il
a tires des pieces originales de la correspondance du grand artiste.
Extrait du "Menestrel."
"L'ouvrage tres important que voici est une traduction faite sur la
cinquieme edition publiee en Angleterre. Je crois avoir rendu compte,
quelques annees. Depuis lors, l'auteur a ameliore, agrandi, complete
son oeuvre, et le volume superbe qu'il nous offre aujourd'hui parait
devoir etre un texte definitif.
"L'ouvrage, fort interessant, de M. Hart, le plus complet en son genre
que nous connaissions en France, est divise en quinze sections ou
chapitres. Dans la premiere section, l'auteur a essaye de tracer une
histoire hypothetique du violon, histoire malheureusement impossible a
faire a cause de son obscurite. Le chapitre consacre a la construction
est plus solide. Puis viennent l'examen des procedes des luthiers des
differentes ecoles: italienne, francaise, allemande et anglaise, et
les biographies de ces luthiers (203 notices de luthiers Italiens, 160
pour les Francais, 158 pour les Allemands, 152 pour les Anglais).
Enfin, la treizieme section a pour titre: _le Violon et ses
admirateurs_, la quatorzieme presente une _Equisse du progres et du
developpement de l'art du Violon_, et la quinzieme, dont l'utilite est
moindre, est consacree a une serie d'anecdotes.
"En resume, le livre de M. Hart est tres curieux, tres utile et fort
interessant. Il ne me reste plus qu'a souhaiter que l'auteur nous
donne maintenant une traduction d'un autre ouvrage, tres precieux,
qu'il a publie recemment sous ce titre: _The Violin and its Music_
(Londres, Dulau, 1881, in 4o). Il nous aura rendu alors un double et
signale service."--ARTHUR POUGIN.
HART & SON, 28, WARDOUR STREET, LONDON, W.
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