‘Those of STRADUARIUS are remarkable for their flat construction. The model or swell on the back and the belly does not rise more than half an inch; they are therefore the flattest of all the Cremonese makers’ instruments. Those that are uninjured possess a very beautiful deep full tone. They are the most esteemed by concert violinists; for every virtuoso will obtain one, if he has an opportunity, at no matter what price.
‘Their shape is invariably very fine, but their corners are not quite so obtuse as those of Hieronymus Amati. The f holes are beautifully cut out and lie near together, as in all genuine Italian instruments; the back, the sides, and the neck are made of beautifully figured maple, and coloured with dark brown amber varnish.
‘The violins of Joseph Guarnerius are beautifully constructed. They are extremely similar in shape, model, and the cutting of the f holes, to those of Nicholas Amati, and are coloured with the same deep yellow amber varnish.
‘The instruments made by Jacob Steiner, of Apsam, differ from the Cremonese both in outward shape and in tone. They are higher modelled, and their proportions of strength are calculated quite differently. The nearest comparison which can be drawn between a Cremonese and a Steiner is this: a Cremonese has a strong reedy, sonorous tone, something similar to that of a clarionet, whilst a Steiner approaches to that of a flute. The belly is modelled higher than the back. In length they are somewhat shorter than the Cremonese. The sides and the back are made of the finest figured maple, and covered with a deep yellow amber varnish.’
The author now digresses, for the purpose of letting us know that for sixteen years he became a guitar maker, but that he has now given that trade up to his sons, for reasons which, as a matter of profit, are obvious enough. We may just remark, en passant, that guitars are now to be had in all parts of Europe, at less than half the price they used to be sold at. But M. Otto shall be heard—‘I must in this place observe that the guitar had originally five strings only. The late Herr Naumann, Maître de Chapelle at Dresden, gave me the order for the first guitar with the sixth or low E string, which I added according to his instructions. Since then the guitar has always had six strings, for which improvement amateurs have to thank Herr Naumann. As, however, for the last ten years a great number of instrument makers, as well as cabinet makers, have taken up this business, I have since then entirely given it up. When I receive any orders I turn them over to my sons at Jena and Halle, who are doing considerably in that branch. The substitution of covered strings for the D and G is a small improvement of my own.’
But we must return to the violin, and hasten to the close of this article; not, however, till we have communicated to our readers some useful instructions given by the author for the preservation of instruments.
‘I shall now,’ he says, ‘lay down some brief hints for the treatment and preservation of the instrument. A good old violin should be kept in a wooden case, lined with cloth or flannel, as the too great heat in summer, as well as the sudden transitions from cold to warmth in winter, are injurious. Too great a heat renders the wood brittle, which gives the instrument a harshness of tone, besides drying and parching the strings. In winter the too great warmth of a room produces the same effects.... Much greater damage is done to the instrument in summer by the flies when it is left out of its case. They get in at the f holes, and in a few years the inside of the back and the belly gets so much spotted with dirt as to feel like shagreen to the touch.
‘The instrument should be kept particularly clean, and the dust carefully wiped off the rosin with a linen rag. The insides should be cleaned out once every six months, with a handful of barley made warm, and poured into the f holes, and well shaken. The dust or dirt inside adheres to the barley, and is brought out again through the f holes. In order to preserve the strings a length of time in good condition and sonorous, it will be advisable to keep in the spare bag, (which should be lined with a piece of bladder moistened with oil of almonds,) a small piece of silk taffeta, slightly damped with the same oil. The strings should be rubbed with this piece of silk from the bridge to the neck, before putting the instrument away in the case, and when again wanted for use, the oil should be wiped off dry with a piece of fine linen, and particularly in that part where the bow is used.’
The best strings, called Roman, come from Milan, and the purest rosin from Prague, in the opinion of the author. He then remarks that much playing in fourths and in fifths on a violin improves its tone, as ‘tending to extract the resinous particles from the wood’! If this be a fact, he assigns a reason; but afterwards declines divulging the cause of ‘this singular effect,’ from a sense of ‘duty to his family.’ This smacks rather of what is commonly called quackery; but we must make due allowance for the worthy man’s paternal care.