Chapter II: Part 2

Why is it we hear no such conflicting opinions about the productions of any other branch of industry or art? Because in no other business do we find so many pretenders. And why is it they infest this particular branch of business more than any other? Simply because the art of violin making is not founded on a correct system, and this may account for the medley of ideas which have been spread broadcast throughout the musical countries, except France, where a regular system is recognized.

Yet in spite of the lack of correct system of making violins, I have become acquainted with a few German musicians who have acquired an excellent schooling in the art. In this respect I cannot refrain from mentioning my admiration for a thoroughly skilled musician, Mr. Herman Eckhardt, of Columbus, Ohio, a man of rare genius in the knowledge of music, who was able to define clearly and accurately the different periods of the progress I made in violin making.

Such a man I must respect the more, because he is endowed with sound judgment, which other musicians, often of very high standing, could only acquire by instruction, a method which to some of them would seem to be impossible, as they are devoid of judgment, having their ability warped by false ideas about violins, and rendering them incapable of correctly understanding and appreciating the latest and best productions; this may account for their fanatical admiration of Italian violins, even if they possess only imitation, but, as "ignorance is bliss," they are happy.

On the other hand, there are amateurs who take such a practical view of the matter that they are just opposite in their beliefs to this class of fanatics. They do not see why a new production, which answers the purpose as well and which in more ways than one is preferable to an old production of the same kind, should be regarded as of less value. They do not understand why a desirable article should command an enormous price when another article accomplishing the same effect can be bought much cheaper. And in this they show a common sense which might well be emulated by many others. While it is true that an enthusiast ought never to be blamed for his enthusiasm, if it has a reasonable base, it is no less true that lacking in this respect he is nothing more or less than a fanatic. This class of people is by no means exclusively confined to amateurs, but even includes in its ranks many true artists in music.

ON THE PRESERVATION OF VIOLINS.

There is no doubt that a certain class of violin players pay very little attention to the care of their instruments, as they use them daily, and few have time to bestow the necessary attention upon them. If a violin is out of order, a musician or amateur who knows nothing about it continues to play upon it. At length he perceives that the tone is not the same as it was before. Many, therefore, often lay the blame on the repairer, or on the violin maker, if it is a new instrument. It is therefore desirable that players should always pay attention to their instruments and examine them whenever they intend to use them, to see whether everything is in order; that the neck has not sunk a little to the front, causing the finger board to lie deeper on the top and the strings to lie somewhat too high. Such deviations will occur, particularly when the top is very much vaulted, as well as by change of weather or climate.

As soon as the weather becomes moist it is advisable to keep a violin in a box; when the weather is fine it should be taken out of the box for a time every day; and even if it is a very old violin it is not good to keep it always locked up. A violin should never lie on a floor, whether in a box or not, but should always be kept on an elevated place and in a moderately warm temperature.

Before using the violin it is advisable to rub it with a soft cloth or chamois, so that neither dust nor perspiration may remain on it; it should also be cleaned each time after being played upon. The sounding post should also be examined, to be sure that it still stands perpendicular. The bridge, too, must be looked at, and if it stands obliquely it must be brought into its normal position again before taking the bow. It usually inclines somewhat forward on the E string after tuning it. If this is the case, pinch the E string between the thumb and index finger, while the corresponding part of the bridge is moved backward by the points of the fingers.

On good and excellent violins particular attention must be given to the bridge, especially when it fits the instrument, for it is not always easy to replace it with one equally good. A bridge which is qualified to affect the violin and contribute to the charm of tone of the instrument is more valuable than one would often think. Many consider a bridge of as little consequence as a string, when it breaks on the violin, and think they can restore the loss by a bridge which costs three cents; for the correct model of a bridge is considered only as an ornament by such people. Of course they do not know that this is one of the most important parts of good violins, and that there are but few violin makers who are able to make a bridge as it should be. But it is the same with the bridge as with the violin.

It is not only the correct construction of the violin and bridge which produces a good tone, but the right sort of wood must be found for the purpose. Thus the bad form of a bridge made of fine wood is just the same as a common fiddle made of fine materials. It therefore follows that we should take as much care of a master bridge as of the violin itself.

It some times occurs that the sounding post of the violin becomes shorter by itself; in this case it may be advisable to relax the strings entirely in order to see whether the sounding post does not fall. If this is the case, a new one must be made of old wood by a skilled workman. The cause of this is that the wood contracts more or less, especially in dry weather; this may also be caused by a change of air, which sometimes even produces a distortion of the swell of the top.

When such care is habitually taken, a violin will always be in good order. Too low a sounding post causes a lower position of the top on that side, which, when not remedied, will remain and will produce a defect in the swell and tone. This is also the case when the sounding post is too high, and many violins are seen where the swell is higher or lower than it ought to be on the side where the sounding post stands. This is also the case with the bass-bar or so-called "soul" of a violin, which is just as mysterious a part of the violin as any one can imagine; and its quality shows the skill or ignorance of its maker.

TO ILLUSTRATE HOW VIOLINS OF MY CONSTRUCTION MAY BE COMPARED WITH THE OLD ITALIAN MASTER-VIOLINS.

From the foregoing treatises it will be seen with what energy I devoted myself to the art of making violins, and I can declare to the world with a good conscience that I have reached the standpoint in this art which has been striven for in vain during a century.

I have studied all the characteristics in the construction of the Italian master violins, and have had extensive practice in imitating violins, as masters have made them, and have obtained an understanding which enables me to unite all good qualities of tone in the construction.

As I am able to judge from experience, nobody can confute me. All those who doubt it or will dispute it can neither confute me scientifically, nor prove what they say. I have had a great many opportunities to hear and repair the best Italian violins myself, including Paganini's wondrous violin at Vuilliaume's, in Paris, and I can affirm that my "Kaiser" violin can be considered as wondrous a violin in regard to tone and character as--nay, it is even to be preferred to--that of Paganini's in many respects!

I also make a peculiar kind of Maggini violin. For this purpose I have selected an older form than that which is generally known. I construct these violins in a manner to include all good qualities of tone, and they are, therefore, far preferable, because they surpass those of Stradivarius in greatness of tone. Such distinctions prove that I have made great progress in this art.

Most Italian violins are now of interest only to admirers of art, and may be recommended to antiquarians, for there are only a very few still existing which can be used for concerts, and although if even their voice disappears more and more out of their body, they will always be valued, kept as relics and admired by friends of art. But it is only fancy which makes most of them adore what they do not understand, and they trample down the blossom of the new productions which the world brings forth.

Therefore, it will be of some interest to many to hear more minute particulars about the method of construction of violins of the old Italian masters, as many persons are still in darkness as to which violins the best tone is to be ascribed. This want of knowledge comes simply from the fact that a combination of uninjured instruments of the best masters is a task very difficult to be effected, and these instruments would by all means have to be put in proper condition by an expert.

This has, perhaps, never been done yet, and a general comparison could only be made as the opportunity presented itself.

As I acquired knowledge of the system, the forms and swells of violins of the great masters, I also became so thoroughly familiar with the characteristics of tone that I have found out what the present needs require.

I will now consider in detail the different characteristics of tone of the productions of the great masters, and state in what manner this difference was obtained.

Jacob Stainer, at Absam, in Tyrol, was a pupil of Nicholas Amati, at Cremona. Stainer and Amati made violins which were mostly demanded by amateurs on account of their round, sweet, silver tone. This character of tone they produced by a small, round and some what oblong swell, as well as by a neat and somewhat smaller size than that of Stradivarius, who endeavored to gain a greater sonority of tone. Stradivarius, therefore, made the swell less high than Stainer or Amati, but of a broader circumference, drawn oblong, by which he obtained a sublime tone in an aristocratic and majestic form.

Joseph Guarnerius del Jesu.--As long as he made violins according to the school of his great master, Stradivarius, his productions were of a similar nature. Later, he made somewhat smaller models, sometimes with a circumferential swell, by which he gained a somewhat smaller tone, but with a striking, quick touch of a peculiar brilliancy. It is strange that he gave a different form to each of his violins, the _f_, the swells and the scrolls varying in almost every instrument. It is told that he was imprisoned for a long time, and, under great deprivations, he made violins secretly. In all his productions his great genius is recognized.

Duffu Prugar, at Bonninien, lived in the sixteenth century. His violins have a large and wide form, with interesting ornaments of carving work and inlay; their swells are beautiful, and as high as those of Stradivarius, and they produce a great and full tone. But as there are only few still existing, many violins are imitated in France according to this model, and they are spread far and wide.

Maggini's violins are mostly of a large size and of a higher swell and fuller toward the extreme parts than all the other violins of the Italian masters, therein producing a great fulness of tone; on the G and D strings their color of tone is particularly deep.

Gaspard da Salo made very interesting violins of small and large size; the former have a peculiar character of tone, not very strong but of a very clear color. These violins have a beautiful, high and round swell, similar to those of Jacobus Stainer, but those of a greater size are flatter, producing more power of tone, and are therefore better adapted for solo performances.

These celebrated masters left us a great choice of different forms and swells, as well as their method of workmanship in regard to the top and bottom of their violins, where the proof is to be seen that they always made investigations in order to gain a greater perfection. Stradivarius and Joseph Guarnerius have especially obtained a beautiful quality of tone in their violins, yet in order to gain an easy touch of tone, they worked the top pretty tender, and in many instances they made the middle part of the top most thin, probably to further the easiness of sound still more. Such violins do not answer for concerts.

It seems that at that time less attention was paid to such a power of tone as is required now, because only few of them have been found with an acceptable thickness of wood in the top and bottom. This is, therefore, the reason that so many Italian violins produce too weak a tone in concerts.

Although Maggini left the top and bottom thicker in the middle part, still, most of his violins have not, on account of construction and deep color of tone, been received with favor like those of Stradivarius and Joseph Guarnerius. As only a few such Guarnerius and Stradivarius violins were found which by reason of their thickness of wood answered the purpose of solo violins, every one believed all their productions of a like character.

Therefore, so many solo players often expose their ignorance by playing on such violins in concerts.

Stradivarius instructed other pupils besides Joseph Guarnerius, who made excellent violins, and many of these violins still exist. As the most of them were made with the full thickness of wood, they produce a splendid tone, often better than some of those made by their great master. This teaches us that he who wishes to possess an Italian violin on account of its tone cannot depend upon finding it by the name alone, but he has to pay all his attention to the discovery of those in which the necessary thickness of wood is found.

A solo player, therefore, should never play a violin on account of its name alone, for if the violin produces a weak tone, the blame will be laid on him, and so much the more because it is generally supposed that such instruments must be master violins.

ART EXHIBITIONS.--HOW VIOLINS ARE EXAMINED AND JUDGED.

First of all I will take America into consideration, where the art of making violins is too little understood to be judged. Commissioners of exhibitions like those, for instance, of the late Centennial, have no idea of violins, and, therefore, are unable to appoint judges competent to award the premiums. It would be too much to ask that they should themselves be such connoisseurs, for the violin is still considered as a fiddle in this country, and it may still take a long time before the people here reach the standard of knowledge and appreciation which Europe occupies. Therefore, only very few real violin makers are found here, for most of them are only amateurs doing business in this branch. In the Centennial exhibition in Philadelphia, in the United States Department, were found mostly such amateur violins. I have heard that all those who called themselves violin makers received a premium. The judges were either unequal to the requirements of their office or they desired to offend nobody. If the latter be the case they certainly acted generously if not justly. But exhibitions of art were established for the purpose of finding out in which way the different articles of industry and art compare with each other. Proper examinations can be made only by professional men, otherwise only that fiddle that "cries" the most will attract the greatest attention.

Justice will never prevail in such exhibitions, owing either to want of knowledge in order to be able to judge who has deserved a premium, or to favoritism, for merit can hope least, especially in Europe. Artists there can only receive acknowledgment if they have the means to spend. The Centennial exhibition, however, was not guilty of such a wrong; here it was the desire to be as just as possible to all, although not every one could be satisfied. To act in the capacity of an awarder is always a thankless task; whether the judge has or has not the necessary knowledge, discontent is sure to follow, because the conceited man who has been unrewarded does not see the difference between his production and the better one of his co-exhibitor, but an injustice is done to an artist, if through favoritism a premium is awarded to an inferior production.

Exhibitions, however estimable they may be, are still very imperfect in regard to their organization; in Europe they have been for years entirely corrupt, and are now called into existence mostly by speculators. The true principle has been lost sight of and taken a corrupt form. It is scarcely to be expected that the time will come when the many defects which have crept in will be removed again, for all these failings which have manifested themselves throw a shade over such exhibitions, and the time is not far distant when they will be entirely disregarded, if not reorganized on a different basis. But I believe that they will never attain great perfection, even if taken in hand by the Government, for so long as a system of awards is connected therewith, mistakes and discontent cannot be avoided. Managers of exhibitions are not always competent to appoint the proper professional men and experts as judges; and as those appointed lack the necessary qualifications, dissatisfaction ensues. But suppose the awards were made with proper knowledge and strictest impartiality, what then? What have the remaining competitors gained who are less gifted by nature, and therefore could not receive any award? Nothing but mortification and an impaired business. Is this fair on the part of human society? Not every one can be an artist. The offering of premiums has for its object the promotion of industry; but the majority of exhibitors can never achieve distinction by reason of lack of talent, and must consequently be considered as excluded from their line of business. Are we not bound to consider them as our fellow brethren and to care for them as well as for those receiving premiums? But the present generation does not seem to have any thoughts about this, for there are but very few men who are still animated with noble impulses; while the majority are striving to ruin their fellow men by greediness.

In my opinion such exhibitions cannot continue any longer, because justice can never be expected, and the chase for the highest premium in order to outdo others, has not only become ridiculous, but also immoral.

If I were the richest man, it should never come into my mind to strive for a premium which I must purchase through so-called leeches. There are, however, connoisseurs who know how to distinguish that which is better from that which is less good.

As long as such exhibitions are based on such rotten principles, I find no longer any interest as an exhibitor in striving for a premium, and as I gained the highest moral premium in the exhibition at Vienna in 1873, on this account I did not compete for any premium as an exhibitor in the Centennial exhibition at Philadelphia!

NOTE ABOUT DILETTANTI VIOLIN MAKERS.

Whoever takes an interest in violin making will undoubtedly be pleased to hear more particulars in regard to dilettanti violin makers and their patrons. There are some dilettanti violin makers in America who consider violin making their business, and there are others who do not make it their chief business. They have their own particular patrons, who in the knowledge of violins are on the same level with themselves; but it cannot be denied that in the productions of some of these violin makers there is talent discernable; if these persons could have had proper instruction, more good violin makers would be found than are now in existence. But as long as dilettanti violin makers remain as such, only dilettanti violins will be produced; for without proper instruction it is impossible to obtain either a correct knowledge of the exterior formation or a correct knowledge of the production of tone.

It is true, that every piece of wood over which strings have been stretched will sound, and every such instrument will have its admirers. There are, however, dilettanti violin makers whose self-conceit and boldness is simply astonishing. The professional will understand this, for if a self-conceited man could see clearly and look into the matter, he would be astonished at his workmanship, as I was once myself.

As dilettanti usually lack that practice which is peculiar to the regular violin makers, they very often experiment in all kinds of machines by which they expect to lighten manual labor; their object, however, is mostly reached in a very roundabout manner, although they believe to have made an improvement, and this improvement they announce to the public as a great success. As most of their patrons have no knowledge of the matter, such a dilettante appears to them as an extraordinary genius. This supposition would perhaps not be disputed if it did not take considerably more time to execute with their machines a certain amount of work than the practical workman requires simply by the dexterity of his hand.

A dilettante violin maker can never be a thorough workman, and is entitled to be considered only as a "jack-of-all-trades;" he has a great many kinds of tools which the regular violin maker never uses.

Many dilettanti are presumptuous enough to believe themselves further advanced in theoretical knowledge concerning tone than the most experienced violin maker of the present day. Some of them ask, in consequence, a great deal higher price for a violin of their own make than does any regular violin maker for his. But it seems to me that such persons are often only the tools of Ole Bull, a once celebrated violinist with extravagant ideas, who misled them. They, however, believe to have learned from him the true secret of the art of violin making. He also tried to persuade them into the belief that when _new_ violins sound well and are serviceable for concerts they are made of chemically prepared wood. If such pretended wise man would have some knowledge of wood, he ought to be able to distinguish wood which is chemically prepared and that which is not! About this point I have already sufficiently explained my opinion.

To give the wood the old natural color which is peculiar to the Italian violins, in a great measure depends on the material used, for not every wood intended for violin making has the necessary qualifications. Violins made from such selected wood are therefore especially valuable.

It cannot now appear strange that the general public has so little knowledge in the judging of violins, when a world renowned violinist like Ole Bull shows such ignorance. Here in America the latter preferred the company of dilettanti violin makers, for the reason that they were generally willing to listen to his ideas, and some of them have studied now so much that they cannot see any clearer nor hear any better.

Dilettanti violin makers form a peculiar class of violin makers in America; and they seem to be born for the sphere of such knowledge as is here shining forth. Their patrons write articles for them in which they try to instruct the public by their ignorance, as we find, for instance, in the Philadelphia _Times_, of August 30th, 1879: "Gemuender refuses to state the source of supply for his wood, and it is a well-known fact that he and others use at times chemical preparations for the purpose of changing the character and the appearance of their wood."

The writer of this notice made a statement without any foundation. Had he and his train a proper knowledge of the matter, they would be able to perceive that the material of my violins is not chemically prepared and the character of the wood has not undergone any change whatever. It is presumptuous in ignorant persons to make such statements against a man of long experience, for the purpose of bringing his productions into discredit; productions which are proofs in themselves that not a single violin can come into the condition of those manufactured of chemically prepared wood, as those of Vuilliaume in Paris. But such individuals manifest not only a prejudice against a better understanding, but also are impertinent, from which stupidity and meanness emanate; and thus they unmask themselves as false experts.

The cause for this assertion will have to be found, and for the disbeliever there is no other ground in the advantages I have gained by my studies, which to them seem impossible; and as the Italian violins are generally acknowledged the only good instruments, they try almost anything to oppose what has proven itself so gloriously, rather than acknowledge it as a fact.

Truth, however, can never be overruled, and the time will come which will impose silence on such individuals! Since mankind inhabits the earth their characters are as different as we find different plants. Many a flower is not fragrant, and how many stately and celebrated men are heartless! Those, therefore, who are void of generosity are able to do evil. Those classes who are as it were idle weeds, for the kinds are both useful and hurtful to men; all that nature produces has a meaning. If we could fathom all the secrets of nature we would also be able to understand the meaning of them, and idle weeds could be less hurtful. But in nature there lies a wisdom which remains a secret to mortal man.

GOOD LUCK AND ART, AND REMARKS ABOUT VIOLINS.

It is an incontestable fact that the success of the endeavors of men to gain a livelihood depends upon luck, although many are of different opinion, especially those who are always favored by good luck, as they ascribe their success to their enterprise and skill. They do not consider that good luck only has offered them a chance. Many become wealthy without being gifted with peculiar knowledge, while many others, in spite of all their knowledge and genius, endeavour in vain and do not see their efforts rewarded. It is, therefore, a matter of fact, that neither art nor science produce wealth, unless they are favored by good luck, and the cases are innumerable which prove this. From the many experiences in my life, especially in my profession, I will only mention the following: Vuilliaume, of Paris, was favored by nature in a very high degree in every thing; he was not only the greatest artist in his profession in Europe during the present century, but also an excellent business man, and good luck smiled on him in all his enterprises. Lupot, his partner, laid the foundation of Vuilliaume's independence by effecting a marriage between him and a very rich lady of nobility. Thus he became not only a celebrated man, but also the richest violin maker of our time. Although some of his violins of prepared wood incurred discredit, nevertheless there were admirers who bought his violins, even in America, where the prejudice against new violins is so prevalent, on account of the supposition that the wood of them was chemically prepared, a practice of which they so stupidly and unjustly accused me, and thereby caused a great deal of harm to my business. On the other hand, Vuilliaume, who really prepared his wood in a chemical manner, was lucky and prosperous.

What is the reason of this and where is it to be found, and why does good luck generally lie in the opposite extreme? The solution of this secret will probably remain undisclosed to mortals. Upon whomsoever fortune smiles, and whom she allows to blow the golden horn, he penetrates the world, his name becomes great, and he produces upon mankind that effect which persuades them into the belief that the best can be found only in him. If Vuilliaume had been a poor man he would have certainly remained poor, especially in America, where the art of violin making is still less understood than in Europe, and unjust reports will be more readily listened to than anywhere else.

In Europe there was a general supposition that a pretty good demand for old Italian violins existed in America, in consequence of which dealers in old and new violins found their way hither. In disposing of these instruments they were not very scrupulous in regard to the information, and sometimes gave them names according their own fancy. A great many so-called Italian violins and violoncellos came in this way to America, and the owners are happy in the imaginary possession of an Italian instrument. Other persons again entertain the idea that they are surer of a genuine article if it comes from Europe, as there is their home; but if it is believed that this is always the surer way, it is a mistake. It requires an extraordinary study to recognize the maker of an instrument, and understand the dead language of the violin. Thus it must not be believed that the instruments claimed to be Italian are always genuine; the seller himself may sometimes be mistaken. Many owners of such "baptized" violins do not always like to be informed of the real origin of the instrument by a person of thorough knowledge.

Sometimes I feel constrained to give an opinion by virtue of my knowledge, but it must not be expected of me to admire a thing that is not genuine, as those owners do in their ignorance.

If, however, a genuine and valuable Italian violin has lost any part, and if a violin maker possesses the art to restore the missing part, either in imitating the varnish or in adapting the lost part to the character of the violin, so that the instrument reappears in its originality so completely that the connoisseur is deceived, the value of the violin is in that case not impaired. This also occurs in regard to very valuable old pictures, and the artist who is found to be able to execute such work is well paid.

Such artists are, perhaps, more to be esteemed than the maker of the original, as they are rare, especially those who are able to restore the originality of valuable old violins. The instruments lose their value in case the repairs cannot be carried out properly, owing to a want of genius upon the part of the repairer.

I have often shown this art in exceptional repairs; but what can be gained by it? The greater number of those who own violins do not know how to appreciate such skilful work, and, in their ignorance, they attempt to do harm in the bargain, when they hear that they must for such repairs, perhaps, pay somewhat more than usual--an additional proof of how great the darkness still is in judging this art. The time when a better understanding in this regard will come to daylight is still far off! And why? Because all other arts and branches of industry are based upon solid ground, as the State governments protect them, and, therefore, they can come to a proper degree of perfection. The art of making violins does not enjoy this privilege (except in France) and it hovers mostly in the fog since the death of the celebrated Italian masters.

Therefore, it can yet be called only a fancy art. The opportunity which has been given to mankind in this century to make this science general has not been regarded, because the confidence and belief in it has been wanting, and it will disappear like a drowning person, who several times comes up out of the water, but who, at last, is overwhelmed. Instead of endeavoring to save this art in its details, it is ignored by self-interest. But such an aversion to the best modern productions is sometimes punished very severely, as want of knowledge often brings common productions into the possession of individuals.

Since the death of Tariso, the great collection of violins, etc., which he gathered from all the regions of Europe, has been scattered again over all countries. Vuilliaume, who bought many of them, afterward resold some to violin makers and dealers; those instruments which were put in order by them are easily recognized.

This collection consisted mostly of all characters of Italian instruments, from the most commonplace to the celebrated Stradivarius. In many an admirer an interest may have been awakened thereby to possess one of these instruments. But it must not be expected that all of those violins still possess their original parts. Had not such amateurs as Tariso--and they are not rare in Europe--bought those instruments of that time and kept them safely, which contributed to their longer preservation, they would, especially if they had been always used, be in a much worse condition.

George Hart, of London, is also such a gatherer of and dealer in instruments. John Hart, the father of George Hart, whose personal acquaintance I made at Vuilliaume's, in Paris--when I was engaged to make for him a set of Stradivarius heads, from that of violin up to that of contra-basso, which should serve as models--undertook to gather such old Italian violins for the purpose of selling them again to other persons. From that firm there came, in fact, some specimens of the celebrated Italian masters to America, and they are interesting and very well preserved. I have seen and admired them; they are in possession of an amateur at Hartford, Conn. Here they are preserved again for the coming generation.

Violin players look with envy upon such violins in the hands of amateurs, but it is fortunate that most of them have come into such hands, for violins of this kind are very delicate, and although those which are well kept produce a beautiful tone, most of them have not that power of tone which is necessary for concerts.

The solo player, however, believes he must produce the strong tone of a violin by force, which breaks the tone, and is not heard distinctly. In this manner such violins are tortured and ruined. When such well kept violins continue to be well preserved, they may be the same after a hundred years. Such relics will then, no doubt bring still higher prices from those who wish to possess a violin of that kind.

But it is strange that some amateurs put a particular value upon a violin which has been in the possession of a rich nobleman, as if it is more likely to be genuine in that case? What a foolish idea! Such whims are not entertained by connoisseurs. There are enough aristocrats who possess only a fiddle, especially in America, and who know nothing about the value of a violin; it is rarely that they have at home a violin which is worth over five or ten dollars. When many of them hear that thousands of dollars are paid for violins, they think that persons who pay these prices must be crazy. The reason of this is that most of them know no difference between a ten dollar fiddle and a violin which costs as many hundreds of dollars!

Amateurs who pay thousands of dollars for a violin are here in America just as isolated as that enthusiast who paid six hundred dollars for the first ticket of the first concert given by Jenny Lind in New York, and the other who paid ten dollars for his admittance in order to be able to see the six hundred dollar man.

Thus I believe to have unrolled a panorama which will assist in the dissemination of knowledge and truthful views, which have only been obtained by a long experience.

OF THE MANNER OF PLAYING--TREATMENT OF BRIDGES ETC.

It has often occurred to me that violin players of all kinds find fault when the strings are not arranged in the manner to which they are accustomed, and almost every one believes his method to be correct. This subject shall be discussed here, so that a clearer insight may be obtained and the correct method ascertained.

There are violin players who have a greatly arched bridge, and others a very flat one, on their instruments. The latter, therefore, more than the former, have the advantage of being able to play on all violins, because they are accustomed to a bridge which is flatter. These different methods mostly arise from the different arrangements of the violins upon which pupils learn to play.

Ole Bull was an exception to this rule; with him it was not chance; of all violin players he used the flattest bridge on his violin; but it was his principle. His music pieces required it, and in his method he became a master.

I. B. Poznanski played at one time on a violin with almost as flat a bridge as that on Ole Bull's instrument, and I believe it will not have been forgotten that he produced, as if by charm, a great tone from his instrument. This proves that a great tone can be gained on a flat bridge. Therefore it depends only on the skill with which the bow is handled. Many violin players, however, are of opinion that they must press the bow on the strings very much, in order to bring forth a strong tone on the violin; but the pressure of the bow is limited; for when it is too strong, the ear becomes disgusted with the tone, nay, a scraping and jarring tone is produced by too strong a pressure, because the G string touches the finger-board in this case, in consequence of which many violin players wish to have the finger-board very hollow. But it must not be believed that in such a manner the right tone is produced; on the contrary, the full tone, which lies ready in the violin, is very easy to be gained by the knowledge and skill of handling the bow.

The rule is, that the tone must be drawn forth by the bow, and it must not be forced forth by pressure. The bow must not be led oblique, but straight over the strings, so that the hair lies flat on them; it also depends on the flexibility of the arm, that the bow may not touch the strings stiffly, but in an elastic manner. Those who attract attention to their elbows cannot expect that the bow and the violin alone will do their service.

The most perfect condition of a violin requires the instrument to be so arranged that it can be played easily; therefore, I determine that the height of the strings must be three-sixteenths of an inch at the end of the finger-board, and that the arch of the bridge must have the same measure, three-sixteenths of an inch, between its two extremes, for bridges more arched than this cause difficulties to the player, because the movement of the bow is too much abstracted when passing from the E string to the G string. In such a manner, David in Leipsic had the violins arranged for his pupils.

On such arched bridges the two middle strings lie too high from the top towards the G string and E string, and it is an acoustical mistake, because it produces an inequality of the character of tone.

Such knowledge should be taught to the pupils in conservatories of music; but it is generally believed that when a violin player has been made a professor he is able to satisfy the requirements of his position in this regard.

For the benefit of the learner, however, I will enter more nearly upon the knowledge which is required, especially in a conservatory, and to the imparting of which the teacher should attend. First I will mention as an example the conservatory at Leipsic when it was under the management of Director David. Most of his scholars were then compelled to play on new violins made by Bausch, which for their stiff and tough tone are for the greater part unfit for those who would become artists. This quality of tone, together with the fact that students were forced into a certain position and fatigued, caused them to become nervous; but many parents who had no knowledge of it, sent their sons to that institute, even from America, and they had no idea that many of them brought back a nervous disease and were thus ruined. I heard this of no other conservatory in Europe. Thus it would appear that David pursued his own interest rather than that he cared for the good of his pupils.

Here in America we have violin teachers whose methods are preferable by far to such.

The following is a method according to which students should be instructed: The student must not be forced into a position of holding the violin so as to cause the ruin of health, but on the contrary, by means of a free position and natural holding of the violin the chest will be enlarged. This does not only benefit the health, but also facilitates the learning and progress.

It is of the greatest importance that students learn on violins which have good tone, for instruments which have a bad quality of tone usually discourage the beginner, so that he becomes nervous and soon considers playing an unpleasant work, and gives it up without knowing the reason why. Teachers, therefore, should have the necessary knowledge of the qualities which a violin must possess. A knowledge indispensable for them and a great benefit for the learner. For only a good tone has a charming influence upon the mind, and owing to this many beginners advance early to a high degree of perfection; therefore it must also be in the interest of the students to get familiar with the good tone of a violin, that their ear may not be accustomed to a sickly tone. Alas! This point is mostly disregarded by their parents, who have little or no knowledge of a violin, and it provokes some indignation in scientifically instructed teachers to teach their pupils on miserable fiddles.

If a teacher knows how a violin should be arranged, it is above all his duty to examine the instrument, and ascertain whether it can be used for the instruction of a learner; for as the violin is first arranged for him so he will ever be accustomed to have it afterward. For instance, on the violin of the solo player Ed. Mollenhauer, the strings lie on the finger-board lower than on any other that I ever saw. No doubt he has learned on such an instrument. It is true that the virtuosoship is facilitated, but the strength of tone is impaired by such an arrangement.

The ingenious artist Brume, however, was so great a master that he played even on violins the strings of which lay very high, although he did not know this. Many, again, are accustomed to bridges that are very much curved towards the E string, because they did not know, when learning, how badly their violins were arranged.

A correct system must be the foundation of everything, but as the theories in this art are still dead letters for most violin players, there have arisen fantastical ideas, especially among the greatest of them. Ole Bull did his best to impart such ideas to others, yet many of them were, no doubt, excellent. Ole Bull always had a vehement desire to find something better beyond all possibility. Many of his ideas were contradictory to all the rules, and although he put some in practice he did not persevere in any of them for a long time, for a new idea occurring to him all others were supplanted by it.

It happened once that Ole Bull was visited in New York by another artist, who was called the "American Sivori." He, as well as many others thought that Ole Bull had a perfect knowledge of the structure of violins. Sivori, seeing that Ole Bull had a bridge on his violin which stood quite oblique--for the upper part of the bridge was bent backwards by a quarter of an inch,--adopted this idea. When his violin had been provided with such a bridge he came to me, and with great satisfaction he showed me this queer position of the bridge on his violin. I was highly astonished at him that he could approve of an idea which is against all correct theory and is nothing but a farce. I then explained to him not only the consequences which must arise from it, but also the impossibility, by such an arrangement, of bringing to bear an even horizontal pressure on the bridge. But he thought that which came from Ole Bull was better than that which came from my knowledge. Let us see what happened later. In a concert of his, while he was playing with enthusiasm, the bridge fell and broke!

Another day an Italian artist came with his Maggini violin to show me where the sounding post must stand in his violin, having obtained his information about it from Ole Bull. I could not help smiling when I saw that the sounding post was placed quite near the _f_ hole. Upon expressing my surprise, he replied with the following insult: "What do you know about the position of the sounding post? You are no violin player like Ole Bull, therefore you cannot know about it." My answer simply was: "Only a fool can talk to me in that way, and very soon you will find out that you will have to give up such an insane idea!"

It was on the third day after that he came back begging me to place the sounding post in his violin according to my judgment. When he had apologized for his indiscretion, I fulfilled his wish.

Thus I have become acquainted with several artists who constantly tortured their violins by getting the sounding post and bass-bar displaced. This proves a want of correct theoretical knowledge, and through this ignorance they make the sounding post wander about the whole violin.

The place of the sounding post can only be ascertained through the theoretical knowledge of the construction of the bottom and top of the violin. Many players think they can obtain the right tone by the position of the sounding post alone, but no sounding post can make good a fault in the construction of the bottom and top.

CIRCULAR WHICH ACCOMPANIED MY "EMPEROR VIOLIN" IN THE VIENNA EXHIBITION OF 1873--AN INTERESTING EXPLANATION ABOUT VIOLINS AND OF THE SCIENCE OF TONE.

It is an indisputable fact, that of all productions of art in the world, the violin has been least understood.

This wonderful instrument has remained an enigma to the musical world until now. How fortunate it is that this instrument does not understand human language, by which circumstance it escapes that medley of critical remarks which are made in its regard.

It is, therefore, in the interest of art and its votaries that I have determined to present herewith to the public the results of my long experience obtained in making violins, and in examining those sciences connected with it.

It is generally known that up to the earlier part of the eighteenth century the Italian masters made the best violins, and with the death of those artists a decline of that art, too, took place. Those so-called classical instruments have been, especially of late years, eagerly sought at high prices, by all artists and amateurs, because a settled opinion has taken hold of their minds that nobody is able to construct a violin which is fit for solo performances; that the secret which the old Italian masters possessed is not yet found, and that new violins, although constructed according to the rules of acoustics, cannot gain the desired perfection until after the use of a hundred years. This, therefore, animated many violin makers with an endeavor to overcome that difficulty, but in vain; at last Vuillaume, of Paris, was impressed with the thought of making wood look old by a chemical process, and he succeeded in creating a furor with his instruments made of such wood, so that people began to believe the right course was being pursued. It turned out, however, that after a few years those instruments deteriorated, and finally became useless and proved a failure.

This especially prejudices the minds of the virtuosi so far that they do not believe it to be possible to make violins which answer the general requirements of concert playing until they have attained a great age.

Vuillaume has, therefore, by his chemical preparation of wood, injured this art seriously, because the previous prejudice was corroborated thereby. Such prejudices stand in the way of progress in making good violins.

But as everything in the world is going on, so the art of the construction of violins has not remained behindhand, and I can prove this to the musical world by my own experience.

To the knowledge of making such violins as artists and amateurs demand, there belong besides ingenuity in carrying out the mechanical work a knowledge of the following three sciences, namely: mathematics, acoustics and the choice of wood.

A knowledge of acoustics, which is most indispensable to the violin maker, cannot always be acquired, since it emanates from an innate genius, which makes itself manifest in the very choice of the wood.

When by the aid of these sciences I had arrived by a natural proceeding at what I aspired, I made violins in imitation of the old Italian instruments and presented them to great artists and connoisseurs, and the highest authorities of Europe and America. They pronounced them to be genuine old Italian violins, not only on account of tone, but also in regard to form and appearance. In this manner I broke that prejudice. I proved to the so-called "connoisseurs" that those violins laid before and acknowledged by them to be good, were of my making, hence they were new. If I had presented those violins as new productions of my own to those gentlemen, they would have condemned them forthwith and said that they would not prove good till they had reached a great age, and that they would perhaps in a hundred years equal the old Italian instruments.

In general, however, it is not taken into consideration that if a violin is not scientifically constructed the good quality of tone will never be obtained, either by much playing or by age. In applying the three above mention sciences I have gained not only the fine quality of tone, but also that ease with which the tones are made to come forth.

But we must be thankful to the great masters; they have laid for us the foundation of the manufacture of violins, by which they became immortalized.

Their system, however, is but little understood by the present violin makers, because very few intelligent people devote themselves to this art, and the most of those who are learning it, practice it not in the way of art, but of business. What wonder, when even the greatest artist in Europe, Vuillaume, imitated the very mistakes which the great Italian masters made in regard to mathematical division. He did not consider that they, in improving the art, made experiments in regard to form, swell and different thicknesses in working out the bottom and top. But there are a great many professional men who, from exaggerated veneration, consider all productions of those masters as law and beyond correction.

I have discovered that the old masters did not arrive at perfection, but made mistakes in their mathematical division and in the workmanship of the different thicknesses of the bottom and top. Those faults I have endeavored to avoid in the manufacture of my violins, and I think I have solved this problem.

Just so it is with the knowledge of tone. It is a great mistake to believe that it is only the player who has this knowledge. Experience has taught that playing and knowledge of tone are two different provinces, because the artist very seldom has an opportunity to make close study of the different qualities of tone, and is usually prepossessed with his own instrument.