The Violin is an instrument which, though small and of trifling
original cost, has yet commanded most extraordinary prices. The reason
of the immense difference in the value of these instruments must
therefore be a subject possessing strong claims to notice from virtuoso
and amateur.
To distinguish by the outward characteristics and peculiarities of
tone, that which will be of pecuniary value to the possessor, and yield
the utmost delight to the hearer, is an acquirement at once difficult
to obtain and very valuable when obtained. To assist the amateur and
collector in this pursuit is the object of the present little work.
Such a work has long been a desideratum.
Of late years, the History of the Violin and its congeners has received
much attention. Elaborate and costly treatises have been published,
some of which being written in Foreign tongues, are exceedingly
difficult to obtain, and not accessible to many of those who desire to
peruse them, on that account. Others are very imperfect and
unsatisfying. Others again, are, from their high price, beyond the
reach of the greater number of amateurs.
The present work is intended chiefly for the use of those who desire a
handy guide to the principal characteristics both of make and tone
which mark the chief builders of this most famous instrument. Many
persons anxious to possess a good instrument, and led away by the very
natural desire to possess an Amati, a Guarnerius, or a Stradiuarius are
tempted into purchasing Violins which are presented to them under false
and delusive titles, and reject frequently good and genuine instruments
of less famous makers, but still valuable because they are good and
genuine. Undoubted specimens of the great masters are now very rarely
to be had, unless at a very high price. Yet, when we consider that even
Stradiuarius himself obtained no more than four pounds for his best
instruments, which now command as many hundreds--it is evident that, in
the absence of those great productions, the works of his pupils and
successors are well worthy the attention of amateurs. There is no
doubt, indeed, that many of these, which from being built on his
principles are of first-rate quality, have been sold as those of the
master himself. It cannot, therefore, be questioned that a knowledge
which will lead the amateur to buy an instrument for what it really is,
instead of what it professes to be, will at once save him from the
unpleasantness of paying too dearly, and in real enjoyment yield all
that can be desired.
The author believes he has in this work given the amateur and
connoisseur information not easily attainable elsewhere, but as he is
fully conscious that there may be imperfections in it still, he will be
glad to receive any suggestions or information which may enable him to
render it still more complete.
Sheffield, February, 1866.