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.