In the last article, we have given some general rules for judging of
the probable tone of an instrument from its model. A few further
remarks on this and other important topics will well supplement what we
have said.
1.--Accurate judgment in violins can only be obtained by long
experience and seeing many instruments, and if possible those of a high
class. There are many little points which to a casual or careless
observer are invisible, but which a practised connoisseur detects
immediately, and thereby is enabled to declare the maker. A difficulty
will often present itself to a tyro in the knowledge of violins, from
the family likeness which it is possible to trace, for example, between
Amati, Stradiuarius and Bergonzi. These have a general resemblance
which indicates the coming from one school. This applies also in many
other cases--but every master has some distinct difference which is
perceptible to the practised eye. The faces of a flock of sheep are to
a stranger all alike; to the shepherd, each has its personal
individuality. It is the same with violins, which can be read by the
practised student as easily as we know each other by the countenance.
2.--It is erroneous to imagine that Cremonese instruments can be
successfully imitated, a very popular story about Paganini's Guarnerius
to the contrary notwithstanding, as the lawyers say. An attempt to
impose an imitation on a practised judge is always productive of an
unpleasant result. To fall from the sublime to the ridiculous is
especially awkward, and results in becoming very particularly
ridiculous yourself. This _must_ be whenever a modern maker attempts to
make an ancient violin. There are practical difficulties impossible now
to get over--such as the varnish. The secret of making the grand old
varnish is lost, and therefore whatever is put on by a modern tells the
tale and cries aloud to the judge--This is a cheat!
3.--It is easier to imitate an old painting than an old violin, though
that is difficult enough to a good judge, but such an insuperable
obstacle as the old amber varnish does not puzzle the picture forger.
4.--In choosing an instrument it is better to select one of a flat
model, the sides of medium height, well proportioned and with good oil
varnish.
5.--We are inclined to think that all the great instruments of the
great makers are well known, and that there are none lying by unknown
to fame.
6.--Most of the more celebrated instruments are given a name of
distinction, such as the Yellow Stradiuarius, the Blood Red Knight
Guarnerius, the Ole Bull Guarnerius, the De Beriot Magini, the
Emmeliani Stradiuarius, the General Kidd Stradiuarius Violoncello, the
Servais Stradiuarius Violoncello, and others. These can be recognised
like the human face.
7.--The reason why Italian instruments are so superior to all others
must be ascribed to their exquisite make, the careful adjustment of the
various thicknesses of wood and the varnish, the secret of which
appears gone for ever. Perhaps another reason may be named in the wood
being so ripe and dry as to permit free vibration.
8.--The Cremonese obtained their colour in oil. The moderns get it only
in spirit, which imparts a hardness to the tone. Compare a Cremona with
the German and other imitations. Can't you hear how perceptible the
difference? The former is mellow and rich--the latter flinty and harsh.
This arises no doubt from the varnish.
9.--The Cremonese violoncellos were mostly made deeper by half an inch
at the bottom than at the upper part. Guiseppe fil Andreae, Guarnerius,
Stradiuarius, Landulphus, and others observed this rule. The tone is
said to be greatly improved by it.
10.--Some persons think it is very difficult to obtain an Italian
violin at a moderate price. It is not so. There are many whose makers
are not known, and also third class instruments of good qualities,
which can be obtained from L10 to L25. It is better to purchase one of
these than a baked copy or a new violin. Then again amateurs may resort
to the old French makers, some old English and the Tyrolean, which may
be had cheaper still.
11.--A respectable dealer who is known to be a connoisseur of
experience, will never sell you a modern copy for an old Italian violin
with a long story of how he got it in some wonderful way. His character
is at stake. Beware of ignorance which assumes the mask of knowledge,
or of designing roguery which apes the appearance of innocence.
12.--The present excellence of the old instruments arises from their
having been made thick in wood, which time has ameliorated and
mellowed, and now permits free vibration. It is much to be deplored
that many instruments have not been suffered to remain as the makers
left them, and that others under a false notion of giving an old tone
have been made too thin.
13.--Had Magini, Gaspar di Salo, and other very old makers used as
little wood as some of their successors, where would their instruments
have been now? We are at the present time reaping the benefit of their
foresight.
14.--There is evident proof of the deep interest the high class makers
took in endeavouring to advance the interests of their art. For
example, Stradiuarius sometimes put the widest grained wood on the
fourth string side, feeling it was the weakest and needed the open
grain. Sometimes he put it on the first string side. He was evidently
trying experiments. But he mostly adopted the former plan, no doubt
correctly. Again, they made instruments larger at the bottom than at
the upper part, gradually reducing in size and depth, an experiment
which observation has since found to be correct. They also made
instruments thicker under the bridge to enable them to bear the great
tension to which they are subject, and many other points showing how
perfect they became. They left little for modern ingenuity to discover.
15.--Old instruments of character should be greatly prized and
carefully preserved, for it seems probable that there will be no others
to take their places, from many well known causes.
16.--Makers of the present time have perverted their talents to
discover a means of producing the qualities of old instruments in new
ones, an achievement utterly impossible, as their efforts show. Many
make instruments with the greatest care, copying the plans of the old
masters--but instead of allowing Father Time to ripen them, they use an
acid to dry up the wood, or bake them. These are known by a peculiar
smell which tells the tale, and they get worse instead of better.
Again, they deem it wise to get a colour at any price, which can only
be done in our day by the use of spirit varnish. Did they use oil
varnish, our successors would at all events reap the benefit, if not
ourselves. The great masters were willing to wait for fame and tried
none of these dodges. Others again put the varnish on and rub it off in
places to resemble the wear of age. Much better would it be to cover
the instrument with varnish and leave age to do the rest. Such schemes
are futile and reflect discredit on those who adopt them.
17.--The peg holes seen in old Italian violoncellos in the middle of
the back are where a peg was put to fasten the instrument round the
neck while playing in the Catholic Churches.
18.--Stradiuarius in his early career frequently cut his wood to form
what are called slab backs, (explained elsewhere,) and sometimes used
pear tree for violoncellos.