Chapter V: VALLER, ---- Marseilles, 1683 (1)

VERON, ---- Paris, about 1725. Highly esteemed in France.

VIARD, NICHOLAS, Versailles, about 1730.

VIBRECHT, GYSBERT, Amsterdam, 1707.

VIMERCATI, PAULO, Venezia, 1700.

VOGEL, WOLFGANG, Nuremberg.

VUILLAUME, JEAN, 1700 to 1740. Worked with Straduarius, and made some good instruments under his own name.

VUILLAUME, JEAN BAPTISTE, Paris. Now living. Famous for his copies of Cremonese instruments. This artiste obtained by personal researches in Cremona the particulars of the life of Stradiuarius, which Fetis has embodied in his book.

W.

WAGNER, JOSEPH, Constance, 1733.

WAMSLEY, PETER, London, 1727. A celebrated artiste, who made many excellent instruments. Those with the dark brown varnish are the most valuable. They were mostly of the Steiner patterns. Mr. J. Rodgers, organist of Doncaster Parish Church, has a very beautiful tenor by this maker, which is built in the shape of a double bass, and with very peculiar sound holes instead of the usual S S.

WEAVER, SAMUEL, London.

WEISS, JACOB, Salzburg, 1761.

WENGER, GREGORIO FERDINAND, Salzburg, 1761.

WEYMANN, CORNELIUS, Amsterdam, 1682.

WIGHTMAN, GEORGE, 1761.

WITHALM, LEOPOLD, Nuremberg, 1765 to 1788. Otto says this maker's instruments are worthy the attention of the virtuoso, and are extremely like those of Steiner, and difficult to distinguish from them.

WISE, CHRISTOPHER, London, 1656.

WORNUM, ---- London, 1794.

WRIGHT, DANIEL, London, 1745.

Y.

YOUNGE, JOHN, London, 1724.

Z.

ZANETTO, PEREGRINO, Brescia, about 1540. A maker of rebecs, violas, and viols da gamba.

ZANTI, ALESSANDRO, Mantua, about 1770. Reckoned among the good Italian makers.

BOW MAKERS.

It will not be considered out of place in the course of a biographical account of the principal makers of violins, to give a short notice of some eminent persons without whose labours, the violin itself would never have been developed as it has been, to wit, violin bow makers. Much of the elegant finish and refinement of tone and style which distinguish the great players of the violin, if not due altogether to the bow, by which the tone is produced, is at all events greatly aided by it. A Paganini will have a Tourte bow, and so will every other great master, if he can get one. There must be something therefore in the bow, as well as in the violin, more than meets the eye of a casual observer. We have not here space to enter into the subtle niceties which distinguish the bows of Tourte of France, of Dodd of England, and others. Suffice it to say that whoever boasts of an excellent violin should match it with a superior bow. One is incomplete without the other. There are many excellent makers, but we must content ourselves with briefly noticing the most prominent. Suffice it to say in the way of advice and warning that whether the amateur buy an old or a new bow, let him see that its flexibility, which is its great merit, is perfect, and that it is still strong though light and straight. Mr. Bishop in his edition of Otto says the finest bows are those of Vuillaume! He does not even mention any others. Tourte and Dodd do not deem to be worthy his remembrance! There must be nevertheless something in the bows of these makers which commands great respect, for any performer of skill will give (if he can get one, that is the difficulty,) ten or twelve times the amount for a perfect Tourte, which will buy a Vuillaume! There is no doubt that Vuillaume manufactures good bows--but to rank them highest is so palpable a misrepresentation that we have thought it necessary to enter a protest against it.

TOURTE, FRANCIS, Paris, born 1747, died 1835. This is conceded, by all the best judges, to be the greatest maker we have ever known, in fact the Stradiuarius of the bow. His father and grandfather were instrumental in improving the bow, but Francis Tourte brought it to the greatest perfection. His bows are light and flexible, yet straight. They are highly finished and made of the finest Brazil wood. He himself sold his bows mounted with gold, at 12 louis, (L11 4s. 6d.) each; with silver 3-1/2 louis (L3 5s. 6d.) It is said the reason of his charging so much was that he found so great a difficulty in getting wood fine enough to satisfy his critical judgment, and that he also made no scruple to break any which did not reach his standard of perfection; he was therefore compelled to charge those sums for such as he permitted to go forth. Whoever wishes to match his cherished Cremona with an equally fine bow will get a Tourte if he can.

LUPOT, of Paris, was another excellent maker. His bows are not quite so light as those of Tourte, but they are in all other respects highly esteemed.

DODD, EDWARD, born at Sheffield, and died in London, at the age of 105 years, in 1810, was distinguished as an improver of the bow in England, about the same time that the Tourtes were founding their great reputation in France. The great maker of this name, however, and who has achieved the honourable title of the Tourte of England, is

DODD, JOHN, the son of Edward. The best bows of this maker are highly esteemed, and partake of all the excellencies of those of Tourte. Some of them, however, are rather short, which is perhaps their only defect.

After these come the bows of Panormo, Pecatte, Tubbs, Vuillaume, and other English and Foreign artistes, whose best bows are much esteemed.

As between old and new bows, we would observe that in general modern bows are nearly us useless as new violins. The wood of which most of them are made is very inferior to that of the older artistes, and there is always a doubt whether they will stand continued use and remain straight and flexible. With an old bow, if it is straight, there is no fear, with ordinary care, of its remaining so. A good bow is as important as a good violin.

THE GREAT CREMONA MAKERS.

THE AMATI FAMILY.

Cremona! Who has not heard of this now celebrated Italian city? And yet but for a fiddle maker it is very probable indeed that it would never have been known beyond the circle of its own local interests and its relations with neighbouring cities. Now, however, its name is a spell to conjure with. A Cremona Violin is, to a rich amateur, a loadstone that is sure to attract the shining metal from the depths of his purse. Seven hundred pounds have been given for a Guarnerius Violin! Think of that ye dilettanti who are so proud of your pictures and marbles! Even the poor fiddler has his Mecca far away, and it is called Cremona. Like pictures, the Cremona Violins are real works of art, and like them also, were once to be had for trifling sums. Cuyps and Paul Potters, Stradiuarii and Guarnerii were once to be had for three or four pounds each that are now worth as many hundreds. A Cremona instrument has even been considered a worthy gift to pass between crowned heads, Pope Pius V. having presented a violoncello by Andreas Amati to Charles IX. of France. Fleeting however are the honours of time! Cremona has lost its most famous names from among its citizens, and with them its most distinguished characteristic. For nearly a hundred years no maker of great skill has arisen to dispute the glory of the place with the Amati, Stradiuarius, and Guarnerius, by whom the fame of Cremona will be carried to the latest generations.

It is now about three centuries since there flourished at Cremona its first great violin maker. Andreas Amati appears to have been born there in 1520, and died in 1580. The family was an ancient one, and is mentioned as early as 1097 in the records of the city. It is a remarkable fact, and shows in a strong light the difference of manners and customs in different countries that both Amati and Stradiuarius seem to have been of ancient and honourable families, and yet notwithstanding their adopting an avocation which would in England be thought to tarnish an old family name, they lived and died respected and honoured by their fellow citizens. There is no account of how or of whom Andrew Amati acquired the art of violin making; but it is clear that by some means he had attained to a considerable amount of skill. Under the head of Gaspar di Salo, we have however hazarded a conjecture that he had been to Brescia for the first principles of the art, but that he had adopted little that he found there except the varnish and the general routine of the workshop. Some of his instruments are described as beautifully made, and to have amber varnish of excellent quality of a deep rich yellow tinted with brown or light red colour. His violins appear to have been chiefly of the small pattern and high model. The backs are mostly cut the reverse way of the grain to the present rule, forming what are now termed "slab" backs. They possess a delicate graceful tone of wonderful sweetness, which has also been more or less the chief characteristic of the other makers of this family. With reference to this peculiarity, an eminent writer observes that in the times in which the Amati lived, the tone was not required to be of that powerful character which modern players demand, and that such an immense tone as many later instruments possess would not then have been tolerated. This is very probable, and may account also for the elevated model which was adopted both by Andrew and some others of the Amati. This model conjoined with their beautiful workmanship and generally small size, combined to produce that elegant delicious sweet tone which of all other makers, the Amatis especially possess. They also, all of them, made a greater number of instruments of the smaller size than what is known as the grand pattern, no doubt because the tone produced by them was found generally sufficient. They were also made to carry a much lower bridge and a lighter bass bar than are now used, and the proportions were arranged accordingly. On this point M. Maugin, author of a Treatise, entitled Manuel du Luthier, makes some remarks which we have translated as pertinent and valuable. Speaking on the subject of repairing old instruments, he says, "There is no violin maker now, who does not put, whether in the instruments he has to repair, or in those which he makes, a much stronger bar than those which were employed by the great makers themselves. They must have felt the necessity of doing this or they would not all act in this way. Now what is the reason of this mode of working? I have seen in the hands of rich amateurs, several instruments which have been preserved with a religious care, absolutely in the form which Amati and Stradiuarius had given to them. The bridges of these violins had only an inch and a fraction of height above the belly, while now-adays bridges have a height of an inch and (say) three-eighths. Now, the belly being put into vibration by strings at a great distance from it, and these strings vibrating by themselves more at the distance of fourteen lines than at twelve, it has been found necessary to strengthen the bar which, without that, being drawn into too great a vibration, would give to the strings sol and re a cottony sound which would have quite spoiled the goodness of the instrument." M. Maugin does not say why higher bridges are now used, but there is no doubt on this point. All judges concur that the pitch having been so greatly raised since the old instruments were built, a stronger bar has been found necessary, to counterbalance the increased tension of the higher bridge.

Andrew Amati gave to his instruments a still more decided swell than the later members of his family, his successors no doubt finding a diminution in the rise of the model to produce a fuller if not a sweeter tone. This principle was gradually carried forward till it culminated in Antonius Stradiuarius, who brought it to perfection and demonstrated that the flat model produced the greatest vibration and consequently the most powerful tone. Otto in his celebrated work on the Construction of the Violin, does not mention Andrew Amati, but says that those of Hieronymus were the oldest Cremona Violins. This is one of the mistakes in his original work which renders it comparatively useless. Connoisseurs and collectors have dissipated those errors, and we now know to a certainty that to Andrew Amati of Cremona, and Gaspar di Salo of Brescia, (of whom also Otto was ignorant,) we owe the establishment of these two great schools of violin making. From their great age, the instruments of these two great makers are now very rare. They are most of them about three centuries old, and though they appear to have made a considerable number, they have through the influences of time and accident gradually disappeared. Some of Andrew Amati's instruments are still left however in the hands of dilettanti and collectors, and retain that distinguishing characteristic of delicious and sympathetic quality which has been the chief charm of all the Amati productions. Andrew had a brother called NICHOLAS, of whom little appears to be known.

After ANDREW, as great makers, come his two sons ANTONIUS and HIERONYMUS, who flourished from 1550 to 1634. ANTONIUS made many small pattern violins, which possess in the highest degree the distinguishing characteristic of the family--a sweet but not powerful tone. He also constructed some of a larger pattern. ANTONIUS and HIERONYMUS conjointly built a number of large pattern violins, which are of high finish and beautiful wood. They are very highly esteemed, and a well preserved example will command a large price. NICHOLAS was the greatest artiste of this deservedly celebrated family, and many instruments still exist to attest the excellence of his workmanship and his knowledge of the proportions requisite to produce a fine tone. He also built many small pattern instruments, but he appears to have almost anticipated Stradiuarius and succeeded in producing some instruments of the grand pattern which possess a very powerful as well as sweet tone, and are considered to rival in every respect the famous instruments of that great master. Some of his violins possess a distinguishing mark in a rather abrupt rise in the centre. Otto describes it as a "sharp ridge." It is not exactly so, but is still very different to the gradual swell on the other Cremona instruments. His best violins, which are known by the title of Grand Amatis, are those which approximate closely to the very best instruments of Stradiuarius and Guarnerius. There can be no doubt therefore, that in these fine specimens of his skill, he had hit upon the same principles which afterwards guided those distinguished artistes in the construction of those most renowned violins which now command the admiration of violinists throughout the world.

We have said that the chief characteristic of the Amati violins is a sweet but not powerful tone. It is necessary to qualify and explain this remark. From their excellent construction and beautiful wood, which has evidently been selected with the greatest care for its resonant quality--their age and long and careful use, their tone is divested of all extraneous properties, and become fine and pure. Notwithstanding therefore their original small tone, when fitted with the modern appliances of larger bars and higher bridges, some have been found quite competent for all purposes. In 1861 the celebrated instrument by Antonius Amati, which was presented by George IV. to Francois Cramer, was sold by auction, and it was stated in the catalogue that that great performer always led the Ancient and other concerts on that instrument. The fact no doubt is that it is the fine and pure quality of tone that tells, arising from age, constant use, and beautiful woods. They seem to be now divested of all extraneous characteristics and are become refined and ethereal, and are in fact the nightingales of the stringed tribe. That the Stradiuarius and Guarnerius have equal quality combined with more power arising from their flatter model is undoubted, and therefore they are the most valued. It is believed that the finest specimen of the skill of Nicholas Amati is in the possession of Ole Bull. It is of the large pattern, and possesses a magnificent tone, as many of our readers have no doubt heard.

We think we shall please our readers by inserting verbatim the following excellent description of the Amati instruments, furnished to us by an able and experienced connoisseur. He says:--

"NICHOLAS AMATI and the BROTHERS AMATI. The tone is with few exceptions sweet in quality and seldom powerful, but admirably suited to the amateur. The workmanship is of the highest order, which conduces to this result. The wood must have been selected with great judgment. The bellies are nearly always of a fine reedy nature. Sometimes the backs are whole backs (in one piece), at others in two, more often the latter. The varnish of a beautiful amber colour, and there are a few instances of fine red. The sides generally rather shallow, heads of exquisite form and well defined. The care bestowed upon them alone bespeaks the hand of the artist. There are several magnificent tenors and violoncellos, and perhaps three or four double basses. The tenors are sometimes seen of large size. The Amati family made several sets of instruments for foreign courts, which bear their particular arms, mostly beautifully painted on the backs. The violins known as Grand Amatis are the best, and were made by Nicholas Amati. They take their name from their size. He also made many long pattern instruments, and also several three quarter violins, which have conferred a great boon upon juvenile violinists who are able to purchase them, by giving them an opportunity of early becoming familiar with the irreproachable Italian quality of tone."

In reference to the remark made in the preceding paragraph, it is recorded that a set of instruments, no doubt one of those therein alluded to, was made for Charles 9th of France by Andrew Amati, consisting of twenty-four violins, six violas, and eight basses. These were lost from Versailles in 1790, and have not been recovered, except two which M. Cartier discovered some years since. Notwithstanding that Andrew Amati was the first maker of any note, except Gaspar di Salo of Brescia, it is clear that he had attained an astonishing amount of skill, as there is an account of a violoncello which was offered by auction at the sale of the celebrated Sir Wm. Curtis's instruments by Mr. Musgrave, who in the catalogue stated that "a document was given to the proprietor when he purchased this instrument, stating that it was presented by Pope Pius 5th to Charles 9th of France for his chapel. It has been richly painted, the arms of France being on the back, and the motto 'Pietate et Justitia' on the sides. The tone of this violoncello is of extraordinary power and richness." Mr. Forster supposes this to have been one of the instruments mentioned before, but that would destroy the value of the document given to Sir William, because if Andrew Amati made it for Pope Pius 5th, who presented it to Charles 9th it could not have been one of those made by him expressly for that monarch. It is clear however that the tone was both grand and fine, and therefore the first of the Amatis must have attained great ability in his art. We have before mentioned the celebrated Nicholas Amati violin, dated 1679, formerly the property of the same distinguished collector, Sir W. Curtis, and which has since been sold by Mr. Hart to the great violinist Ole Bull. This is considered the finest specimen of the Amati skill and was thus described in the catalogue of the sale--"This is justly considered as one of the most beautiful and finest instruments in the WHOLE WORLD." The Count de Castelbarco of Milan, possessed a quartett of instruments by Nicholas Amati, which have since been sold in London (see the article on Stradiuarius.) M. Fetis describes these as _admirable_, but as our readers will see, the English connoisseurs do not appear to have coincided generally with the critic on their quality, as only one of them produced any great price. There is a splendid grand Amati in the hands of an amateur in Derbyshire, which formerly belonged to Mr. Hankey the banker, for whom it was purchased with others by Viotti, who dedicated several of his compositions to him. This instrument possesses in an eminent degree the admirable qualities of the Amati tone, with also considerable power. Another of the same set in the same hands is a splendid Stradiuarius of the large pattern with a magnificent tone. There are many fine examples of the different makers of this celebrated name in this country. English connoisseurs suffer those of no other nation to excel them in their collections.

ANTONIUS STRADIUARIUS.

A most interesting account of Antonius Stradiuarius, who is generally thought to be the greatest maker of the violin--has been published by M. Fetis, and translated into English by Mr. Bishop of Cheltenham. In addition to records of his family, which was an ancient one in Cremona, obtained by M. Vuillaume in his persevering labours in search of information, and which he placed at the service of M. Fetis--the latter enters deeply into what we may call the science of violin making, and presents us with many interesting and valuable experiments which have been made on fragments of the great instruments, in order to ascertain the exact principles which enabled Stradiuarius to build with such undeviating and brilliant success. The book is well worthy the perusal of all amateurs of the violin.

ANTONIUS STRADIUARIUS was born in Cremona, in 1644, and died there in 1737, having lived in the peaceful exercise of his art to the great age of ninety-three. There is a violin still extant which bears his signature and proves this fact. In the early part of his life, he was a pupil of Nicholas Amati, and some of his early productions bear his master's name, as seems to have been the custom. These instruments have the Amati characteristics, and have some of the backs cut the contrary way of the grain, forming what are known by the name of "slab" backs. He afterwards enlarged his model and adopted a flatter pattern, and arrived at the greatest perfection about 1700. From that period to 1725, everything he made bore the impress of the great master. In shape, the cutting of the S holes, the varnish, and the accuracy with which all the parts were adjusted in harmonical relation, from that time he excelled all who had gone before him, or who have since attempted the difficult task of vying with him. All these instruments are of the flat pattern, which is now proved to be best adapted for the production of a rich, deep and powerful tone. It would appear that the more elevated model used before his time, although it allowed of very fine quality of tone, tended to prevent that strong vibration which is the cause of great tone. M. Fetis insists that the violins of Stradiuarius were as good and fine in quality of tone when made as they are now, contrary to the established opinion that time is necessary as well as use for refining and perfecting all violins. He gives an instance of a violin made by Stradiuarius, now in Paris, which he states has never been played upon--but we must beg to doubt this fact. Though we are ready to admit that the careful adjustment of the different parts and the selection of fine wood, would tend to perfect the tone of these instruments, much sooner than others less carefully fashioned, yet in the instance he brings forward in support of his theory, it does not appear quite so clear that the violin never had been played upon. On the contrary, there are many years unaccounted for, in his description of it, during which it might have undergone considerable use. It appears almost impossible that while in the hands of various possessors, so fine an instrument should have been suffered to lie idle in a cabinet, as though it were a picture to be looked at, but not touched. From its condition, however, it is clear that it had always been in hands that prized it, for he describes it as having quite the appearance of a new instrument. In this respect, therefore, we must still adopt the opinion of the most eminent judges, including that recorded by Spohr, that it requires both time and use to perfect all instruments of the violin class. It would appear moreover that this has always been a settled belief, for even Mace in his "Music's Monument," published in 1676, says "We chiefly value old instruments before new for by experience they are found to be far the best." As to the condition of this instrument which Fetis states to be quite unique for its perfection and apparent newness, our countryman, Mr. Gardiner, in his interesting work, "Music and Friends," says that Mr. Champion, an amateur had given 300 guineas for a Stradiuarius violin and tenor, of a beautiful yellow colour inclining to orange, and which appeared to have been untouched since the day they were made. Here then in this country is a double instance of the same fact as to condition, for which M. Fetis claims for the Paris instrument the title of unique. The fact is that these fine violins have for many years been so highly appreciated that their possessors have taken the most extraordinary care to prevent their being damaged or disfigured, and there are many instances of violins in equally perfect condition.

After 1725, at which date Stradiuarius was 80 years old, his work lost some of its characteristic excellence though still of great merit. His sons, Homobono and Francesco, now assisted him, but he appears still to have signed them, occasionally adding to their names however, the words _sub disciplina A. Stradiuarius_. He had many pupils, the chief and the best of whom was Carlo Bergonzi. There were also Gobetti of Venice, Guadagnini of Cremona, Michael Angelo Bergonzi, and others mentioned in the dictionary. Fine examples of the works of his pupils are now becoming very valuable, and are well worthy attention.

Stradiuarius made a few instruments inlaid with ebony and ivory round the edges. There is a quartett of them, all bearing the same date 1687. One is in the collection of Charles Plowden, Esq.; the other violin belongs to a gentleman in Staffordshire; the violoncello belongs to the Queen of Spain, and the tenor was once the property of Sir Wm. Curtis. This is a very curious and remarkable set of instruments, very highly finished and in fine preservation. There is also another violin inlaid which belonged to the late Dr. Camidge of York, bearing date 1713. A. Fountain, Esq., has in his possession, the last violin which Stradiuarius made. This instrument is known as the Habenock Violin from the previous owner's name from whom Mr. Fountain had it. Charles Plowden, Esq., has a quartett of splendid instruments by Stradiuarius, of which one violin is of the Grand Pattern, dated 1719; another dated 1711; which are perfect in model and preservation, and both first-class; the third is a remarkable violin, with rich golden varnish, dated 1709--a perfect instrument, which has been twice sold for L600, was formerly the property of Emiliani and is still known by his name. The fourth violin is the inlaid instrument mentioned above. Besides these, Mr. Plowden possesses a magnificent violoncello by Stradiuarius--a remarkable specimen both for beauty and tone; and also, four violins by Joseph Guarnerius which will be mentioned under the head of that master.

There is in Derbyshire a very fine Stradiuarius which was purchased by Viotti for his friend Mr. Hankey, from whom this and the Amati mentioned elsewhere went to his brother, a distinguished amateur, who died some years ago. Wm. Howard, Esq., of Sheffield, has a fine Stradiuarius violin, of the most beautiful yellow varnish, splendid wood, fine tone, and perfect condition, which formerly belonged to Salomon.

We may also mention here that the late eminent violinist Ernst, played upon a very fine Stradiuarius Violin which was presented to him by A. Fountain, Esq., an ardent admirer of that famous player. Joachim also uses a Stradiuarius. Servais, the great French performer, uses a Stradiuarius Violoncello, which is said to be the handsomest known, and which cost him 500 guineas.

The value of the best productions of the genius of Stradiuarius is now very great. Mr. Betts, of London, had one for which he refused the enormous sum of L500, and Dragonetti also refused L800 for a double bass. The highest price, L600 however was given twice for the violin now belonging to Mr. Plowden. But even such prices have been exceeded by that of the celebrated King Joseph Guarnerius mentioned elsewhere, which realised L700. It must not be understood however that such prices are the rule, for it is only for extraordinary specimens that any such great sum can be obtained. Excellent instruments are frequently sold for much smaller amounts, and it must also be remembered that none but those made from about 1700 to 1725 realise such enormous sums. His earlier productions, which resemble those of his master, and which are known by the name of Stradiuarius Amatis, can be had occasionally for moderate prices. An undoubted violin of any period of this great master's make, is well worthy the attention of the virtuoso. They are all good, but the grand pattern of this wonderful genius, possessing equal sweetness with greatly increased power, are only now to be had by connoisseurs of unlimited means.

As an illustration of the more moderate prices which these fine productions command, we think it may interest our readers to give here the result of a public sale of Cremona instruments belonging to the Count de Castelbarco of Milan, a distinguished amateur. M. Fetis in his work states that the Count possessed "two quartetts of Stradiuarius, very remarkable instruments; another of Joseph Guarnerius; a fourth of Nicholas Amati, and lastly a quartett of Steiner," of which he specially particularises the Tenor as "being a model of perfection as to workmanship, and the tone of which is of extreme beauty." These instruments were sold by auction by Messrs. Puttick and Simpson, on the 26th June, 1862. We quote the report of the "Times," by which it will be seen that our English connoisseurs did not appreciate them so highly as M. Fetis. The "Times" did not mention the Guarnerii and the Steiner at all, we presume because the prices were nothing remarkable.

LOT.
1 Violin by Stradiuarius, 1712 L 70
2 Violin by Stradiuarius, 1699 L 56
5 Tenor Violin by Stradiuarius, 1715 L100
6 Violin by Stradiuarius, 1701 L135
8 Violin by Stradiuarius, 1685 L135
9 Violin by Stradiuarius, 1713 L 90
12 Violin by Nicholas Amati 39 gs.
13 Violin by Andrew Amati 36 gs.
26 Violoncello, Stradiuarius 1697 L210
28 Violoncello, Stradiuarius 1687 L115
30 Violoncello, Nicholas Amati 1687 L130
31 Original Letter by Stradiuarius L 8

At the same sale a Grand Amati Violin, jewelled at the corners, L60; Violin by Guarnerius, 38 guineas.

In addition to the above we may mention that the Stradiuarius Violin, which once belonged to a member of the Medici Family, was sold by auction a short time ago, at the Hotel de Drouet in Paris, for 5,745f., about L230, an excellent price for a Parisian connoisseur. We have already mentioned many fine instruments by Stradiuarius which are in the hands of connoisseurs and performers. We will now mention a fact which in the estimation of all true lovers of these fine violins is to be greatly regretted. It is not the only instance, as probably our readers are aware that the celebrated Guarnerius Violin of Paganini, is now locked up in a museum at Genoa. There is at a museum in the city of Florence, a quartett of beautiful instruments by Stradiuarius, consisting of two violins, tenor, and violoncello, which were presented to the institution by an Italian Nobleman, whose ancestors purchased them from the master himself. These instruments are most beautiful and in the highest preservation. But of all other curiosities, Cremona Violins are the most unsuitable for a museum, because they lie there dead, and are no more than names. The soul of music which is embodied in them is imprisoned within wood and crystal, and is no more heard of men. Let no one leave his Cremona to a museum.

Before closing our account of this great master, it may not be uninteresting to state in his life time, he appears to have charged about L4 for a violin, and that he made so many during the course of his long and industrious career, that his fellow citizens spoke of him as rich. "As rich as Stradiuarius," was a common remark, as we see by M. Fetis' notice. Another anecdote is, that Cervetto, an Italian merchant in London, had a consignment of violins from the master himself, and as he could not get four pounds each for them he returned them. This appears strongly to disprove the assertion that his instruments were as good when made as they are now, especially when we find that in 1662, L40 was given for two Cremona violins for King Charles' band, no doubt the elder Amati's, which at that date would be getting mellowed by time. It is clear that King Charles, or the leader of his band, knew the value of Cremona instruments, for reckoning the difference in the value of money at the two periods, L20 then would purchase L120 worth of goods now. It is therefore extraordinary that if they were as good new as when they are old, the paltry sum of four pounds could not be got for them. The real truth no doubt is that whoever the maker, time must be the refiner, and even genius like that of Stradiuarius and Guarnerius could not impart that grand, rich, and mellow tone which distinguishes them without the aid of old Father Time.

THE CREMONA VARNISH.

Those who desire to make themselves acquainted with the chief characteristics of the great Cremona makers should take every opportunity of examining genuine instruments. In addition to the other external indications we have pointed out, one of the most important, which is also the most difficult, if not impossible to imitate, is the varnish, including the colour. None of them seem to have adhered to one colour only. The present master for instance covered some of his finest violins with a deep rich yellow, almost approaching to orange. Others again will be found of a fine red, having something of a most lovely light cherry tint. Now these colours were mixed by the best makers with amber varnish of the purest and clearest consistency, and both colours and varnish are perfectly free from that muddy sort of appearance which so often disfigures modern instruments. The effect is that of perfect transparency. You look at a clear perfect rich colour, as it were, through the purest crystal. This is one of the most certain indications of a genuine instrument. The moderns unfortunately seem to have lost the secret of making this lovely transparent clear coloured varnish, and the consequence is that a connoisseur of ability and experience never doubts when he sees an instrument whether it be the work of a great master. It is however supposed that all the genuine productions of the chief Cremona makers are now known, and we would not therefore have our readers flatter themselves they can pick up any of them in a casual way. Vigilant eyes and sharp judgments have long swept over Europe in search of them. But the advantage is this--that a knowledge of the best enables the amateur to discern a near approach to it, and thus distinguish those makers who are not so well known, though, being the pupils and followers of the great masters, they are well worthy of his choice. Large diamonds are rare and very dear. A smaller gem must suffice the amateur of moderate means.

THE GUARNERIUS FAMILY.

This is another glorious name in the annals of Cremona. Many of the first connoisseurs, now hesitate whether to apply the epithet greatest to Guarnerius or to Stradiuarius. The palm is therefore divided between them. Certain it is however that inasmuch as money rules the world, if we resort to that test, Guarnerius is the brightest gem, for it is recorded that he has sold for L700 and Stradiuarius for only L600. Most of the rich connoisseurs therefore desire to possess both. The great players, to whom money is more an object, divide their affections between them, and are satisfied with either one or the other, as chance or opportunity may decide.

The first of this celebrated family was Andreas, who was born in 1630 and died about 1695. He appears to have been a pupil of Nicholas Amati, and shows much of his teacher's careful finish. His instruments are generally beautifully made, of good and handsome wood, with excellent varnish, principally of amber colour like that of the Amatis. He also occasionally, but much more seldom, used red coloured varnish. This artiste is not famous for producing a great tone in his instruments, and he is therefore not elevated to the first class, but he made very good violins which are well worthy the attention of the amateur. We have seen a very fine specimen in the hands of A. Bright, Esq., of Sheffield, which was purchased of Mr. Hart, and which is decidedly the best instrument we have seen of this master. It is remarkably handsome, of a beautiful yellow colour, the back of one piece with rather small figure, the ribs similar, the head most carefully and accurately formed and the belly of fine wood. The tone is also more powerful than Andrew's violins generally are, and it is altogether a very fine example of his work.

GUISEPPE GUARNERIUS is considered to be the son of Andrew, and his instruments are generally signed as filius Andrae, very probably to distinguish him from his more celebrated cousin and namesake, who is besides generally known by the name of Joseph del Gesu. Guiseppe's instruments are very similar to his cousin's in quality--but less powerful and probably not so round in tone. They have however, a firm well defined kind of sound, which is always pleasing both to the player and the hearer, the former never feeling that the tone will give way under his bow. There are a great number with "slab" backs. The varnish is of first quality, and his violins are yearly becoming more valuable and of greater importance. We have seen a violoncello by this master, which is very fine. The back, ribs and head of very beautiful small figured wood. The belly of very fine grained wood, the bate looking like fine threads of silk stretched at regular intervals the whole width and length of the instrument, and with an exceedingly rich red varnish. It possesses also a fine quality of tone, and is dated 1713.

PIETRO, another son of Andreas, dates from 1690 to 1720. In the latter part of his life, he appears to have removed from Cremona to Mantua, his labels bearing date from thence. He was a pupil of his father, but is said not to have equalled him in careful finish. His instruments, however, command considerable respect and fetch a good price, a violoncello of his being recorded to have sold a few years ago for L120.

JOSEPH, nephew of Andreas, born in 1683, and died in 1745, is the last and best of the race of violin makers of this name. He was distinguished by the title of Joseph del Gesu, through his using on his labels, the monogram I.H.S., with a cross over or through the H. His career appears to have been of a very chequered complexion. From all the accounts that have come down to us, he seems to have been a man of irregular habits and eccentric genius. In consequence of these peculiarities, his instruments differ greatly in their characteristics. Neither the model, the wood, nor the varnish possesses much verisimilitude at different periods of his career. They are all, however, marked by the stamp of genius, and give but little trouble to a well informed connoisseur. Even under the most distressing circumstances, when on some account, he was confined in prison, and was obliged to be indebted to his gaoler's daughter for the materials with which he worked, they still bear the characteristics and originality of a great master. The finish, however, of those which he made at this period was inferior to the others, being rather coarse and slovenly, and the work altogether little indicating externally the signs of that real excellence which they possess. At his best period, however, his instruments are of rare beauty and merit, and equal or perhaps excel those of Stradiuarius. The wood he then used was of fine quality, and the varnish rich and lustrous and very often of similar lovely tints as those of that master. Many of his instruments are of rather small pattern, but in his best period, he produced some of large size and of extraordinary power and grandeur of tone. Among them was the famous favourite violin of Paganini, the renown of which, says M. Vuillaume, "was equal to that of its master." This was the instrument on which, the most celebrated of all violin players the world ever saw, produced those extraordinary effects which astonished the whole musical world, and which will never be forgotten by those who heard them, nor perhaps excelled by any other. These instruments are however unfortunately very rare, and as rich connoisseurs will have them if possible, the value of them has come to be very great. We have elsewhere mentioned the magnificent violin known by the name of the King Joseph Guarnerius, for which Mr. Hart received the enormous sum of L700, which is the largest amount ever obtained for a violin on record. This splendid violin is of large pattern, with beautiful rich orange yellow varnish and splendid wood. It was imported into this country by Mr. Hart, and has been in the hands of those enthusiastic and judicious collectors, Mr. James Goding and Mr. Stewart. Joseph Guarnerius appears to have endeavoured to produce the grandest tone, combining majesty and refinement. Many people think he did so without thought or design, but we think otherwise. In the first place he seems to have fixed on Gaspar di Salo and Magini as his models, for if a comparison be made we shall find there are many points which resemble these instruments, for example, the peculiar shaped sound holes, the manner in which they are placed and the flat model, all of which tend to produce power, while he obtained the quality from the wonderful ingenuity he exercised in leaving the thicknesses of the wood in evidently the correct places, which was the necessary step in advance. He certainly made many rough instruments which are ascribed to his imprisonment, and which are now called the Prison Guarnerii, but the varnish on these even is not surpassed. He made many of a rich yellow colour, and others of red, the latter of which are matchless instruments. His heads are not finely cut, but the character he gave them has never been excelled.

In the first rank of Joseph Guarnerius instruments we must no doubt place that belonging to Paganini, which would, if it could be obtained, command an extraordinary price, and there are also many other noble productions of his skill extant. The King Joseph Guarnerius we have before mentioned. Mr. Plowden has four very valuable violins by this master. One was formerly the property of Mr. Goding, and was esteemed by him the finest in his collection. Another is quite equal, more highly finished and has his splendid red varnish. The third was formerly the property of Ole Bull, and is considered of the finest model of the master in his more unfinished and larger sized instruments, dated 1714. The fourth, less well known, but perhaps more perfect, certainly in tone, 1742. These four instruments are considered by most of the virtuosi, to be probably the finest examples extant of this great master. Certainly there are few collectors who can boast of having so many fine violins as these four by Guarnerius, and the four by Stradiuarius previously described. Mr. Plowden has always gone on the principle of getting the very best instruments of each master, and his taste and judgment are well evidenced in his collection. The late Earl of Falmouth possessed some very valuable instruments such as the Kiesewetter Guarnerius and the Jarnovick Guarnerius, so named after their owners, and also a fine Magini Tenor, all of which were purchased by Mr. Hart. The late lamented Prince Consort had a very fine tenor by Joseph Guarnerius, which was highly finished and had belonged to Dragonetti. There are many other fine specimens of Guarnerius in this country. English collectors, with that splendid contempt for cost which distinguishes them, allow no fine instruments to leave the country if they know it, and the consequence is that in the present day, and for some time back, England ranks first in the number and value of the Cremona Violins she possesses. Next comes France, who has some able connoisseurs; then Russia and Germany. Italy, strange to say, has suffered them all to leave her, and though the native country of Stradiuarius and Guarnerius, it is doubtful whether other nations have not attracted all the finest instruments out of her own possession. The great rise in the value of these extraordinary instruments is no doubt due to the fact that they were built very strong in wood, the effect of which would be to depreciate the tone when they were built, but which, now time has ameliorated them and the wood has become capable of free vibration, has refined the quality and increased the tone. Fifty years ago, a Guarnerius of the best time might have been bought for L50 that will now command L500. Neither does it appear that they have yet reached their climax, for they are yearly increasing in value as the examples we have mentioned clearly show.

THE GREAT TYROLESE MAKER.

JACOB STEINER.

The time has been when the instruments of this master, whose name is perhaps yet as widely known as the Cremonese, were very highly esteemed in England. In Germany it is so yet, and many of the amateurs of that country flatter themselves that Steiner ranks first in the roll of famous violin makers. Their celebrated violinist, Spohr, however, in his remarks on the subject inserted in his Violin School does not coincide with the opinion of his fellow countrymen to this effect, for he puts Steiner in the second rank, reserving to the first Nicholas Amati, Antonius Stradiuarius, and Joseph Guarnerius. In this decision he also generally expresses the opinion of the travelled professional violinists of his own country as well as all Europe. But it is well known that in Germany a well preserved instrument of Steiner's best period will sell for much more money than any where else. In England more especially we adopt exactly the reverse valuation. Steiner will not now command a greater price than many of the pupils of the great masters, and perhaps to some extent this may arise from the immense number of spurious instruments bearing his name, which the inferior Tyrolese makers put forth to the world and palmed on a credulous public as his genuine instruments. Perhaps no master has been more copied and imitated, both in Germany and elsewhere. In England the violin makers in the beginning of the eighteenth century, mostly copied the pattern and model of Steiner. There must, therefore, be some good and powerful reason for this general depreciation in value and reputation which Steiner has suffered. This the candid inquirer readily finds in the fact that the instruments of Steiner, which were generally constructed on a high and peculiar model were only calculated for the production of a thin though sparkling tone, while the Italians aimed, particularly in the flatter instruments, to obtain a full rich and round tone. This distinction is apparent even in the older Cremona makers, but if we compare those of Steiner with those of Nicholas Amati, of Stradiuarius, or Guarnerius, the thin tone of the former and the rich round tone of the latter become instantly most striking. The consequence is that the rich amateurs who form collections, and the great performers whose interest it is to please by the quality of tone as well as the grace and finish of their execution, no longer purchase the Steiner violins except as matters of curiosity in the case of a very fine example. We do not know any great player who uses a Steiner instrument, as we shall show in another article. We therefore only now class Steiner among the great masters, from his past reputation, and for certain special instruments.

JACOB STEINER was a native of the Tyrol, and was born at Absom, near Inspruck, about 1620. It is said that an old instrument by Kerlino, which he found in the house, gave him his first tendencies towards the art of violin making. Certain it is however that while yet a youth he obtained employment in the workshop of Nicholas Amati. This was an excellent school for the young aspirant, and after some years he made some instruments which, with the exception of sixteen which will be mentioned later, are considered to be the finest specimens of his talent. These fine violins are the product of his Cremonese inspiration, and bear a written label signed by himself and dated from Cremona about 1644. These instruments are modelled higher than those of his master, thus showing a singular divergence from the principle of gradual decrease in the height of the model of the Amatis, from Andrew to Nicholas. This divergence from that principle, which ended in the flat model of Stradiuarius, must be considered to be the real cause of the loss of favour which the Steiner violins, though beautiful in other respects, have undergone. Steiner exaggerated the old practice instead of following the new lights of science, and while the latter have yielded the brightest results, the former has tarnished the real talent of this otherwise excellent artiste. Probably another reason for the defective tone of Steiner's instruments in comparison with the Cremonese and Brescian, is the practice of modelling his violins with an extraordinary and peculiar rise to about the foot of the bridge, and then keeping it nearly flat. Otto describes it thus, "the breadth of this raised part is about the same as the bridge itself, and then it falls off towards the edges. The model is precisely similar towards the neck and on the broad part (beneath the finger board.)" This description is only imperfect in this point that sufficient stress is not laid on the words _fall off_. It is literally a falling off, and on the principles of acoustics must of necessity make the tone thin. Andrew Amati, on the contrary, built nearly as high, but beautifully and gradually sloped them down to the purfling, and his instruments, though small in tone, are yet full, round and sweet. In other respects Steiner at this period was a most careful maker, and his instruments show very fine finish and workmanship. They are of the small pattern, with the S holes rather shorter than the Cremonas, somewhat narrow and beautifully formed; the head also smaller and particularly round and smooth. The varnish is similar to that of the Amatis, and the wood of the belly has a fine open grain.

After the production of these instruments at Cremona, Steiner removed to his native place and having married the daughter of Antonius Amati appears to have lost his ambition, and made many very inferior instruments. His history at this period is somewhat melancholy. Pressed by the necessities of a family and the want of active patronage, his genius languished and he became negligent and careless in his work. This continued for some time till fortune again smiled upon him, when not being compelled to sell for immediate wants he again resumed his careful finish and began to be distinguished as a good maker. At about this period Klotz and Albani became his pupils, and he produced some excellent instruments, which are often distinguished by the scrolls being ornamented with lions heads which are beautifully carved. These and the heads of other animals are supposed to denote the crests of his patrons at this period. They are dated from about 1650 to 1667 at Absom. Fetis says the French violinist, Alard, has a violin of this period of the greatest beauty, and that there is in Paris a genuine Steiner, which he has heard Sivori play upon, which although of a very small pattern has an unusually brilliant tone.

Now comes the most brilliant period of this artiste's history in a musical sense, though somewhat romantic and mysterious otherwise.