In addition to the above we may mention that the Stradiuarius Violin, which once belonged to a member of the Medici Family, was sold by auction a short time ago, at the Hotel de Drouet in Paris, for 5,745f., about £230, an excellent price for a Parisian connoisseur. We have already mentioned many fine instruments by Stradiuarius which are in the hands of connoisseurs and performers. We will now mention a fact which in the estimation of all true lovers of these fine violins is to be greatly regretted. It is not the only instance, as probably our readers are aware that the celebrated Guarnerius Violin of Paganini, is now locked up in a museum at Genoa. There is at a museum in the city of Florence, a quartett of beautiful instruments by Stradiuarius, consisting of two violins, tenor, and violoncello, which were presented to the institution by an Italian Nobleman, whose ancestors purchased them from the master himself. These instruments are most beautiful and in the highest preservation. But of all other curiosities, Cremona Violins are the most unsuitable for a museum, because they lie there dead, and are no more than names. The soul of music which is embodied in them is imprisoned within wood and crystal, and is no more heard of men. Let no one leave his Cremona to a museum.
Before closing our account of this great master, it may not be uninteresting to state in his life time, he appears to have charged about £4 for a violin, and that he made so many during the course of his long and industrious career, that his fellow citizens spoke of him as rich. "As rich as Stradiuarius," was a common remark, as we see by M. Fetis' notice. Another anecdote is, that Cervetto, an Italian merchant in London, had a consignment of violins from the master himself, and as he could not get four pounds each for them he returned them. This appears strongly to disprove the assertion that his instruments were as good when made as they are now, especially when we find that in 1662, £40 was given for two Cremona violins for King Charles' band, no doubt the elder Amati's, which at that date would be getting mellowed by time. It is clear that King Charles, or the leader of his band, knew the value of Cremona instruments, for reckoning the difference in the value of money at the two periods, £20 then would purchase £120 worth of goods now. It is therefore extraordinary that if they were as good new as when they are old, the paltry sum of four pounds could not be got for them. The real truth no doubt is that whoever the maker, time must be the refiner, and even genius like that of Stradiuarius and Guarnerius could not impart that grand, rich, and mellow tone which distinguishes them without the aid of old Father Time.
The Cremona Varnish.
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.
THE GUARNERIUS FAMILY.
This is another glorious name in the annals of Cremona. Many of the first connoisseurs, now hesitate whether to apply the epithet greatest to Guarnerius or to Stradiuarius. The palm is therefore divided between them. Certain it is however that inasmuch as money rules the world, if we resort to that test, Guarnerius is the brightest gem, for it is recorded that he has sold for £700 and Stradiuarius for only £600. Most of the rich connoisseurs therefore desire to possess both. The great players, to whom money is more an object, divide their affections between them, and are satisfied with either one or the other, as chance or opportunity may decide.
The first of this celebrated family was Andreas, who was born in 1630 and died about 1695. He appears to have been a pupil of Nicholas Amati, and shows much of his teacher's careful finish. His instruments are generally beautifully made, of good and handsome wood, with excellent varnish, principally of amber colour like that of the Amatis. He also occasionally, but much more seldom, used red coloured varnish. This artiste is not famous for producing a great tone in his instruments, and he is therefore not elevated to the first class, but he made very good violins which are well worthy the attention of the amateur. We have seen a very fine specimen in the hands of A. Bright, Esq., of Sheffield, which was purchased of Mr. Hart, and which is decidedly the best instrument we have seen of this master. It is remarkably handsome, of a beautiful yellow colour, the back of one piece with rather small figure, the ribs similar, the head most carefully and accurately formed and the belly of fine wood. The tone is also more powerful than Andrew's violins generally are, and it is altogether a very fine example of his work.
Guiseppe Guarnerius is considered to be the son of Andrew, and his instruments are generally signed as filius Andræ, very probably to distinguish him from his more celebrated cousin and namesake, who is besides generally known by the name of Joseph del Gesu. Guiseppe's instruments are very similar to his cousin's in quality—but less powerful and probably not so round in tone. They have however, a firm well defined kind of sound, which is always pleasing both to the player and the hearer, the former never feeling that the tone will give way under his bow. There are a great number with "slab" backs. The varnish is of first quality, and his violins are yearly becoming more valuable and of greater importance. We have seen a violoncello by this master, which is very fine. The back, ribs and head of very beautiful small figured wood. The belly of very fine grained wood, the bate looking like fine threads of silk stretched at regular intervals the whole width and length of the instrument, and with an exceedingly rich red varnish. It possesses also a fine quality of tone, and is dated 1713.