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.