In the beginning of 1860 Gemünder was often visited by an amateur named Messing, who wished to find a good Italian violin, for he manifested an aversion toward Gemünder's productions, owing to his prejudice against new violins. At the same time Gemünder had as an apprentice a nephew, who, when he had not yet been fully three years with him, was engaged to make his first violin, according to form of Stradivarius. When it was finished Gemünder made him a present of it, and said he would varnish it so as to look old. Afterward his apprentice gave it to a friend in New York to sell it for him. This friend published in the newspapers that he had a Stradivarius to sell. Mr. Messing was the first to make inquiries about it, and bought it, highly rejoiced at having a Stradivarius at last. He then had it examined by the violin maker Mercier, in New York, who confirmed the claim of originality. Mr. Messing then went to Europe, and at Paris he wished to hear what the violin maker Gand would say, and the latter also declared it was an old instrument, adding, however, that in order to be quite sure whether it was a genuine instrument or not it would require more time than he could apply to it just then. When he went to Berlin, he showed his instrument to the violin maker Grimm, that he might hear from him his opinion as to its genuineness. Grimm refrained from uttering his opinion, yet he offered him a high price for the instrument, which the owner considered to be sufficient evidence that he possessed something extraordinary, and to warrant him in keeping his violin. After the lapse of four years, when Messing had returned to New York, he came to see Gemünder, full of joyous anxiety to show him his violin, saying, "Here, Mr. Gemünder, I have something to show you; I have found what I have been so long looking for!" Mr. Messing then opened his box, and Gemünder, catching a glimpse of the violin, exclaimed, "That is my apprentice's first production; how did you come by it?" At these words Mr. Messing stood as if thunderstruck, and in his bewilderment he tried in every way to convince Gemünder that he was mistaken, but failing in this attempt, his discomfiture was complete. When he had somewhat recovered from his dismay, he felt heartily ashamed, because he had disregarded the work of the master only to take up with the apprentice's first production, and this, too, under the delusion that that work was a genuine Stradivarius violin. Mr. Messing is now cured of his prejudice, and is no longer looking for a Stradivarius violin.
At the time when Gemünder had his violin in the Exhibition of Vienna, Baron Leonard, from Hungary, who was a great violinist, brought him his Italian violin to have it repaired. During their discourse about violins the Baron conveyed to Gemünder the impression that he had already seen many Italian violins, and he seemed to have a great knowledge of them. Thereupon Gemünder showed him a violin that seemed to be a genuine Guarnerius, which he had determined to send to the exhibition of Vienna. The Baron was quite astonished at seeing such a wonderful and splendid instrument, and did not know which to admire more, whether the varnish of the violin or its tone; in short, he looked at it with reverence, as if it were a shrine. Gemünder then showed him a Stradivarius, and when the Baron's gaze fell upon this instrument, he seemed to be enraptured, and he exclaimed, in a tone of question: "Mr. Gemünder, how do you come by such treasures? In truth you have a treasure of the greatest rarity, for I never saw a violin so beautiful and of such tone!" When, however, Gemünder declared to him that these were the sisters of the "Kaiser" violin, which was in the Vienna Exhibition, and were made by him, the Baron conducted himself as if he had awakened from a sweet dream, and found it difficult to realize his true condition.
It is not my intention to unfold in this work my knowledge of the structure of violins; for the present generation would not thank me for doing so. In the treatise itself will be found the reasons why I have not set forth that knowledge. Since the death of the celebrated old Italian violin makers, many works have been put forth, in which we find not only in what manner those famous masters varnished their violins, but also prescriptions even, of theorists who usually know nothing about the practice, or mathematical principles thereof. Abundant theories are to be found in all such works, but they are good only for those who have little or no knowledge of violin making. If the science of the celebrated Italian masters could really have been found in these works, the experiments made by European investigators would not have been entirely unsuccessful.
In George Hart's interesting book, "The Violin," a comparative illustration may be found of the workmanship of all violin makers with whom he became acquainted, either personally or by history, and by whose productions he obtained his practical knowledge, which comparisons are generally good, but not entirely free from error. This compilation of experiences is highly interesting for all those who take an interest in violins. The treatises which will be found below have reference simply to the art of making violins, to violin players and their critics, the information contained in which has for the most part never hitherto been made public.
Through these scientific explanations a better judgment will be awakened, which will tend to show how, in consequence of mistakes and ignorance in regard to violins and violin makers, false ideas arise.
PROGRESS OF THE STRUCTURE OF VIOLINS—THEIR CRITICS.
In 1845 I became personally acquainted with Ole Bull, at Vuillaume's, in Paris, where I then had my first opportunity of hearing and admiring an artist on the violin. I learned then to appreciate the beauty of both arts, and the sublimity of attainment in either to be a violin virtuoso or a perfect violin maker. The latter art engaged my whole attention, and it was my greatest aim to reach to the highest point of perfection therein.