Part 5
ANTONIUS STRADIUARIUS was born in Cremona, in 1644, and died there in 1737, having lived in the peaceful exercise of his art to the great age of ninety-three. There is a violin still extant which bears his signature and proves this fact. In the early part of his life, he was a pupil of Nicholas Amati, and some of his early productions bear his master's name, as seems to have been the custom. These instruments have the Amati characteristics, and have some of the backs cut the contrary way of the grain, forming what are known by the name of "slab" backs. He afterwards enlarged his model and adopted a flatter pattern, and arrived at the greatest perfection about 1700. From that period to 1725, everything he made bore the impress of the great master. In shape, the cutting of the S holes, the varnish, and the accuracy with which all the parts were adjusted in harmonical relation, from that time he excelled all who had gone before him, or who have since attempted the difficult task of vying with him. All these instruments are of the flat pattern, which is now proved to be best adapted for the production of a rich, deep and powerful tone. It would appear that the more elevated model used before his time, although it allowed of very fine quality of tone, tended to prevent that strong vibration which is the cause of great tone. M. Fetis insists that the violins of Stradiuarius were as good and fine in quality of tone when made as they are now, contrary to the established opinion that time is necessary as well as use for refining and perfecting all violins. He gives an instance of a violin made by Stradiuarius, now in Paris, which he states has never been played upon--but we must beg to doubt this fact. Though we are ready to admit that the careful adjustment of the different parts and the selection of fine wood, would tend to perfect the tone of these instruments, much sooner than others less carefully fashioned, yet in the instance he brings forward in support of his theory, it does not appear quite so clear that the violin never had been played upon. On the contrary, there are many years unaccounted for, in his description of it, during which it might have undergone considerable use. It appears almost impossible that while in the hands of various possessors, so fine an instrument should have been suffered to lie idle in a cabinet, as though it were a picture to be looked at, but not touched. From its condition, however, it is clear that it had always been in hands that prized it, for he describes it as having quite the appearance of a new instrument. In this respect, therefore, we must still adopt the opinion of the most eminent judges, including that recorded by Spohr, that it requires both time and use to perfect all instruments of the violin class. It would appear moreover that this has always been a settled belief, for even Mace in his "Music's Monument," published in 1676, says "We chiefly value old instruments before new for by experience they are found to be far the best." As to the condition of this instrument which Fetis states to be quite unique for its perfection and apparent newness, our countryman, Mr. Gardiner, in his interesting work, "Music and Friends," says that Mr. Champion, an amateur had given 300 guineas for a Stradiuarius violin and tenor, of a beautiful yellow colour inclining to orange, and which appeared to have been untouched since the day they were made. Here then in this country is a double instance of the same fact as to condition, for which M. Fetis claims for the Paris instrument the title of unique. The fact is that these fine violins have for many years been so highly appreciated that their possessors have taken the most extraordinary care to prevent their being damaged or disfigured, and there are many instances of violins in equally perfect condition.
After 1725, at which date Stradiuarius was 80 years old, his work lost some of its characteristic excellence though still of great merit. His sons, Homobono and Francesco, now assisted him, but he appears still to have signed them, occasionally adding to their names however, the words _sub disciplina A. Stradiuarius_. He had many pupils, the chief and the best of whom was Carlo Bergonzi. There were also Gobetti of Venice, Guadagnini of Cremona, Michael Angelo Bergonzi, and others mentioned in the dictionary. Fine examples of the works of his pupils are now becoming very valuable, and are well worthy attention.
Stradiuarius made a few instruments inlaid with ebony and ivory round the edges. There is a quartett of them, all bearing the same date 1687. One is in the collection of Charles Plowden, Esq.; the other violin belongs to a gentleman in Staffordshire; the violoncello belongs to the Queen of Spain, and the tenor was once the property of Sir Wm. Curtis. This is a very curious and remarkable set of instruments, very highly finished and in fine preservation. There is also another violin inlaid which belonged to the late Dr. Camidge of York, bearing date 1713. A. Fountain, Esq., has in his possession, the last violin which Stradiuarius made. This instrument is known as the Habenock Violin from the previous owner's name from whom Mr. Fountain had it. Charles Plowden, Esq., has a quartett of splendid instruments by Stradiuarius, of which one violin is of the Grand Pattern, dated 1719; another dated 1711; which are perfect in model and preservation, and both first-class; the third is a remarkable violin, with rich golden varnish, dated 1709--a perfect instrument, which has been twice sold for £600, was formerly the property of Emiliani and is still known by his name. The fourth violin is the inlaid instrument mentioned above. Besides these, Mr. Plowden possesses a magnificent violoncello by Stradiuarius--a remarkable specimen both for beauty and tone; and also, four violins by Joseph Guarnerius which will be mentioned under the head of that master.
There is in Derbyshire a very fine Stradiuarius which was purchased by Viotti for his friend Mr. Hankey, from whom this and the Amati mentioned elsewhere went to his brother, a distinguished amateur, who died some years ago. Wm. Howard, Esq., of Sheffield, has a fine Stradiuarius violin, of the most beautiful yellow varnish, splendid wood, fine tone, and perfect condition, which formerly belonged to Salomon.
We may also mention here that the late eminent violinist Ernst, played upon a very fine Stradiuarius Violin which was presented to him by A. Fountain, Esq., an ardent admirer of that famous player. Joachim also uses a Stradiuarius. Servais, the great French performer, uses a Stradiuarius Violoncello, which is said to be the handsomest known, and which cost him 500 guineas.
The value of the best productions of the genius of Stradiuarius is now very great. Mr. Betts, of London, had one for which he refused the enormous sum of £500, and Dragonetti also refused £800 for a double bass. The highest price, £600 however was given twice for the violin now belonging to Mr. Plowden. But even such prices have been exceeded by that of the celebrated King Joseph Guarnerius mentioned elsewhere, which realised £700. It must not be understood however that such prices are the rule, for it is only for extraordinary specimens that any such great sum can be obtained. Excellent instruments are frequently sold for much smaller amounts, and it must also be remembered that none but those made from about 1700 to 1725 realise such enormous sums. His earlier productions, which resemble those of his master, and which are known by the name of Stradiuarius Amatis, can be had occasionally for moderate prices. An undoubted violin of any period of this great master's make, is well worthy the attention of the virtuoso. They are all good, but the grand pattern of this wonderful genius, possessing equal sweetness with greatly increased power, are only now to be had by connoisseurs of unlimited means.
As an illustration of the more moderate prices which these fine productions command, we think it may interest our readers to give here the result of a public sale of Cremona instruments belonging to the Count de Castelbarco of Milan, a distinguished amateur. M. Fetis in his work states that the Count possessed "two quartetts of Stradiuarius, very remarkable instruments; another of Joseph Guarnerius; a fourth of Nicholas Amati, and lastly a quartett of Steiner," of which he specially particularises the Tenor as "being a model of perfection as to workmanship, and the tone of which is of extreme beauty." These instruments were sold by auction by Messrs. Puttick and Simpson, on the 26th June, 1862. We quote the report of the "Times," by which it will be seen that our English connoisseurs did not appreciate them so highly as M. Fetis. The "Times" did not mention the Guarnerii and the Steiner at all, we presume because the prices were nothing remarkable.
LOT. 1 Violin by Stradiuarius, 1712 £ 70 2 Violin by Stradiuarius, 1699 £ 56 5 Tenor Violin by Stradiuarius, 1715 £100 6 Violin by Stradiuarius, 1701 £135 8 Violin by Stradiuarius, 1685 £135 9 Violin by Stradiuarius, 1713 £ 90 12 Violin by Nicholas Amati 39 gs. 13 Violin by Andrew Amati 36 gs. 26 Violoncello, Stradiuarius 1697 £210 28 Violoncello, Stradiuarius 1687 £115 30 Violoncello, Nicholas Amati 1687 £130 31 Original Letter by Stradiuarius £ 8
At the same sale a Grand Amati Violin, jewelled at the corners, £60; Violin by Guarnerius, 38 guineas.
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.
PIETRO, another son of Andreas, dates from 1690 to 1720. In the latter part of his life, he appears to have removed from Cremona to Mantua, his labels bearing date from thence. He was a pupil of his father, but is said not to have equalled him in careful finish. His instruments, however, command considerable respect and fetch a good price, a violoncello of his being recorded to have sold a few years ago for £120.
JOSEPH, nephew of Andreas, born in 1683, and died in 1745, is the last and best of the race of violin makers of this name. He was distinguished by the title of Joseph del Gesu, through his using on his labels, the monogram I.H.S., with a cross over or through the H. His career appears to have been of a very chequered complexion. From all the accounts that have come down to us, he seems to have been a man of irregular habits and eccentric genius. In consequence of these peculiarities, his instruments differ greatly in their characteristics. Neither the model, the wood, nor the varnish possesses much verisimilitude at different periods of his career. They are all, however, marked by the stamp of genius, and give but little trouble to a well informed connoisseur. Even under the most distressing circumstances, when on some account, he was confined in prison, and was obliged to be indebted to his gaoler's daughter for the materials with which he worked, they still bear the characteristics and originality of a great master. The finish, however, of those which he made at this period was inferior to the others, being rather coarse and slovenly, and the work altogether little indicating externally the signs of that real excellence which they possess. At his best period, however, his instruments are of rare beauty and merit, and equal or perhaps excel those of Stradiuarius. The wood he then used was of fine quality, and the varnish rich and lustrous and very often of similar lovely tints as those of that master. Many of his instruments are of rather small pattern, but in his best period, he produced some of large size and of extraordinary power and grandeur of tone. Among them was the famous favourite violin of Paganini, the renown of which, says M. Vuillaume, "was equal to that of its master." This was the instrument on which, the most celebrated of all violin players the world ever saw, produced those extraordinary effects which astonished the whole musical world, and which will never be forgotten by those who heard them, nor perhaps excelled by any other. These instruments are however unfortunately very rare, and as rich connoisseurs will have them if possible, the value of them has come to be very great. We have elsewhere mentioned the magnificent violin known by the name of the King Joseph Guarnerius, for which Mr. Hart received the enormous sum of £700, which is the largest amount ever obtained for a violin on record. This splendid violin is of large pattern, with beautiful rich orange yellow varnish and splendid wood. It was imported into this country by Mr. Hart, and has been in the hands of those enthusiastic and judicious collectors, Mr. James Goding and Mr. Stewart. Joseph Guarnerius appears to have endeavoured to produce the grandest tone, combining majesty and refinement. Many people think he did so without thought or design, but we think otherwise. In the first place he seems to have fixed on Gaspar di Salo and Magini as his models, for if a comparison be made we shall find there are many points which resemble these instruments, for example, the peculiar shaped sound holes, the manner in which they are placed and the flat model, all of which tend to produce power, while he obtained the quality from the wonderful ingenuity he exercised in leaving the thicknesses of the wood in evidently the correct places, which was the necessary step in advance. He certainly made many rough instruments which are ascribed to his imprisonment, and which are now called the Prison Guarnerii, but the varnish on these even is not surpassed. He made many of a rich yellow colour, and others of red, the latter of which are matchless instruments. His heads are not finely cut, but the character he gave them has never been excelled.