GOOD LUCK AND ART, AND REMARKS ABOUT VIOLINS.
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.