Beautiful and interesting as is this art of making and repairing violins, and however great has been my enthusiastic devotion to it, I should never have engaged in it had I in starting possessed my present experience, for the ignorance which the public has shown by the confusion of opinions in this branch might almost make one believe these judgments emanated from a mad-house.
Why is it we hear no such conflicting opinions about the productions of any other branch of industry or art? Because in no other business do we find so many pretenders. And why is it they infest this particular branch of business more than any other? Simply because the art of violin making is not founded on a correct system, and this may account for the medley of ideas which have been spread broadcast throughout the musical countries, except France, where a regular system is recognized.
Yet in spite of the lack of correct system of making violins, I have become acquainted with a few German musicians who have acquired an excellent schooling in the art. In this respect I cannot refrain from mentioning my admiration for a thoroughly skilled musician, Mr. Herman Eckhardt, of Columbus, Ohio, a man of rare genius in the knowledge of music, who was able to define clearly and accurately the different periods of the progress I made in violin making.
Such a man I must respect the more, because he is endowed with sound judgment, which other musicians, often of very high standing, could only acquire by instruction, a method which to some of them would seem to be impossible, as they are devoid of judgment, having their ability warped by false ideas about violins, and rendering them incapable of correctly understanding and appreciating the latest and best productions; this may account for their fanatical admiration of Italian violins, even if they possess only imitation, but, as "ignorance is bliss," they are happy.
On the other hand, there are amateurs who take such a practical view of the matter that they are just opposite in their beliefs to this class of fanatics. They do not see why a new production, which answers the purpose as well and which in more ways than one is preferable to an old production of the same kind, should be regarded as of less value. They do not understand why a desirable article should command an enormous price when another article accomplishing the same effect can be bought much cheaper. And in this they show a common sense which might well be emulated by many others. While it is true that an enthusiast ought never to be blamed for his enthusiasm, if it has a reasonable base, it is no less true that lacking in this respect he is nothing more or less than a fanatic. This class of people is by no means exclusively confined to amateurs, but even includes in its ranks many true artists in music.
ON THE PRESERVATION OF VIOLINS.
There is no doubt that a certain class of violin players pay very little attention to the care of their instruments, as they use them daily, and few have time to bestow the necessary attention upon them. If a violin is out of order, a musician or amateur who knows nothing about it continues to play upon it. At length he perceives that the tone is not the same as it was before. Many, therefore, often lay the blame on the repairer, or on the violin maker, if it is a new instrument. It is therefore desirable that players should always pay attention to their instruments and examine them whenever they intend to use them, to see whether everything is in order; that the neck has not sunk a little to the front, causing the finger board to lie deeper on the top and the strings to lie somewhat too high. Such deviations will occur, particularly when the top is very much vaulted, as well as by change of weather or climate.
As soon as the weather becomes moist it is advisable to keep a violin in a box; when the weather is fine it should be taken out of the box for a time every day; and even if it is a very old violin it is not good to keep it always locked up. A violin should never lie on a floor, whether in a box or not, but should always be kept on an elevated place and in a moderately warm temperature.
Before using the violin it is advisable to rub it with a soft cloth or chamois, so that neither dust nor perspiration may remain on it; it should also be cleaned each time after being played upon. The sounding post should also be examined, to be sure that it still stands perpendicular. The bridge, too, must be looked at, and if it stands obliquely it must be brought into its normal position again before taking the bow. It usually inclines somewhat forward on the E string after tuning it. If this is the case, pinch the E string between the thumb and index finger, while the corresponding part of the bridge is moved backward by the points of the fingers.