Joachim plays upon a Stradiuarius, Vieuxtemps on a Guarnerius, Ole Bull on a Guarnerius and an Amati, De Beriot on a Magini, (of which he had two very splendid examples, the second being now in the possession of the author,) Carrodus a Guarnerius, and many other living instances. Piatti a Ruggerius violoncello, Servais a Stradiuarius violoncello. Past examples may be cited in Paganini, who played upon a Guarnerius, Mori a Guarnerius, and Spagnoletti the same. Ernst used a Stradiuarius. Dragonetti played on a Gaspar di Salo and a Stradiuarius double bass.
GENERAL NOTES.
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.