Part 7
After this he must study the characteristics of good wood, careful finish, and fine varnish. A knowledge of these is best acquired by examining the instruments of the great masters. To go fully into these also is not necessary here, having already commented on them under their respective heads. One remark is, however, necessary here. Many people foolishly imagine that _any_ violin may be made to produce as sweet sounds in the hands of a skilful player as a high class instrument. This is a great mistake, and a convincing proof of its fallacy may be drawn from the fact that all the great soloists play upon high class violins. They do this moreover at a time when they would gladly save the expense were it possible. A few instances may interest the reader.
GREAT PLAYERS AND THEIR INSTRUMENTS.
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.
7.--The reason why Italian instruments are so superior to all others must be ascribed to their exquisite make, the careful adjustment of the various thicknesses of wood and the varnish, the secret of which appears gone for ever. Perhaps another reason may be named in the wood being so ripe and dry as to permit free vibration.
8.--The Cremonese obtained their colour in oil. The moderns get it only in spirit, which imparts a hardness to the tone. Compare a Cremona with the German and other imitations. Can't you hear how perceptible the difference? The former is mellow and rich--the latter flinty and harsh. This arises no doubt from the varnish.
9.--The Cremonese violoncellos were mostly made deeper by half an inch at the bottom than at the upper part. Guiseppe fil Andreæ, Guarnerius, Stradiuarius, Landulphus, and others observed this rule. The tone is said to be greatly improved by it.
10.--Some persons think it is very difficult to obtain an Italian violin at a moderate price. It is not so. There are many whose makers are not known, and also third class instruments of good qualities, which can be obtained from £10 to £25. It is better to purchase one of these than a baked copy or a new violin. Then again amateurs may resort to the old French makers, some old English and the Tyrolean, which may be had cheaper still.
11.--A respectable dealer who is known to be a connoisseur of experience, will never sell you a modern copy for an old Italian violin with a long story of how he got it in some wonderful way. His character is at stake. Beware of ignorance which assumes the mask of knowledge, or of designing roguery which apes the appearance of innocence.
12.--The present excellence of the old instruments arises from their having been made thick in wood, which time has ameliorated and mellowed, and now permits free vibration. It is much to be deplored that many instruments have not been suffered to remain as the makers left them, and that others under a false notion of giving an old tone have been made too thin.
13.--Had Magini, Gaspar di Salo, and other very old makers used as little wood as some of their successors, where would their instruments have been now? We are at the present time reaping the benefit of their foresight.
14.--There is evident proof of the deep interest the high class makers took in endeavouring to advance the interests of their art. For example, Stradiuarius sometimes put the widest grained wood on the fourth string side, feeling it was the weakest and needed the open grain. Sometimes he put it on the first string side. He was evidently trying experiments. But he mostly adopted the former plan, no doubt correctly. Again, they made instruments larger at the bottom than at the upper part, gradually reducing in size and depth, an experiment which observation has since found to be correct. They also made instruments thicker under the bridge to enable them to bear the great tension to which they are subject, and many other points showing how perfect they became. They left little for modern ingenuity to discover.
15.--Old instruments of character should be greatly prized and carefully preserved, for it seems probable that there will be no others to take their places, from many well known causes.
16.--Makers of the present time have perverted their talents to discover a means of producing the qualities of old instruments in new ones, an achievement utterly impossible, as their efforts show. Many make instruments with the greatest care, copying the plans of the old masters--but instead of allowing Father Time to ripen them, they use an acid to dry up the wood, or bake them. These are known by a peculiar smell which tells the tale, and they get worse instead of better. Again, they deem it wise to get a colour at any price, which can only be done in our day by the use of spirit varnish. Did they use oil varnish, our successors would at all events reap the benefit, if not ourselves. The great masters were willing to wait for fame and tried none of these dodges. Others again put the varnish on and rub it off in places to resemble the wear of age. Much better would it be to cover the instrument with varnish and leave age to do the rest. Such schemes are futile and reflect discredit on those who adopt them.
17.--The peg holes seen in old Italian violoncellos in the middle of the back are where a peg was put to fasten the instrument round the neck while playing in the Catholic Churches.
18.--Stradiuarius in his early career frequently cut his wood to form what are called slab backs, (explained elsewhere,) and sometimes used pear tree for violoncellos.
REPAIRS OF INSTRUMENTS.
We cannot part with the reader who has thus far accompanied us in our labours, without making a few remarks on the important subject of repairs. So many fine instruments have been ruined and the beauty of so many more tarnished by the mal-addresse and ignorance of some so-called restorers and repairers, that we think we shall be serving the admirers of the violin by warning them against entrusting valuable instruments to incompetent hands. A few notes will serve to illustrate the chief subjects for care and some important items in fitting instruments properly.
1.--So-called repairs have been frequently so clumsily done, as to damage old and valuable instruments to an extent impossible to remedy.
2.--There are many instances where wood has been taken out of the instrument under the idea of improving the tone. This is a fatal error, and when the mischief is discovered it is replaced by new wood. Others have done the same under another erroneous impression, that it will give strength to the instrument to enable it to bear the increased pressure caused by the higher pitch used at the present time. Whatever the notion, the result is always bad. The grain of the new wood does not come level with the old, and causes a sudden check to the vibration. The glue also lying between the old and the new wood deadens the sound. Some repairers have been guilty of this practice to a great extent, and many fine instruments have been thus damaged. Let no one under any plea tamper with the thicknesses of wood in a good violin.
3.--The sound bar used by the old masters (as we have before stated) and others of that period, was much shorter than is now used, and consequently all have been changed. The present bar is quite sufficient to bear the increased pressure required in our time, without resorting to any other means. If an alteration be required an experienced repairer only can know the kind of bar required.
4.--The necks of the old instruments were short; they have therefore to be lengthened if found in their old state. A good repairer will splice a neck in so as to be scarcely perceptible. Much of the ease and comfort of playing depends how this is done.
5.--The sound post is a very important item in fitting an instrument. There is a marvellous power in this simple contrivance. It should fit as though it were part of the back and belly. An instrument can be frequently cured of a bad description of tone by the slightest move of the post. Those subject to what are termed wolfy notes can be remedied or the bad notes shifted to less important ones. It is a mistake to suppose there is a particular place for the sound post in all instruments alike. It depends upon the model of the instrument to a great extent. High models require the post nearer the foot of the bridge than flat models. Others require the post thick or thin. The regulating of the post should only be entrusted to the skilled hand, and we would impress upon amateurs that it is better never to shift the post themselves. Many instruments have had the sound holes spoiled and the surface of the wood inside gored by unskilful tampering with the post.
6.--The bridge is another very important agent in regulating an instrument. No general rule will serve for this matter. Some instruments require the bridge thick, others thin. Some a close grain and others the contrary. The bridge should be fitted as accurately as the post, and as though it grew from the belly, the feet touching equally all round.
7.--Tail pieces are better quite free from ornaments, which frequently cause the instrument to jar disagreeably.
8.--The strings are of great importance. They should be adjusted to be in perfect fifths. This is essential, otherwise it is impossible to play double notes correctly in tune. It may be done with a little trouble. When the instrument is in tune on the open notes, place the finger across the strings, for example, at B on the second string, and F on the first string. If the fifth is imperfect, tune one string a shade higher, and try again. If then perfect it requires a smaller string. If not, tune a shade lower than the perfect open fifth, if then right when tried as before, it requires a thicker string.[1]
[1] We have seen a little instrument advertised to accomplish this important matter without trouble.
THE PERFECT FIFTH'S GAUGE.--"This useful gauge is marked with such precision as to render all strings gauged by it in accordance with each other producing perfect fifths, enabling the performer to execute passages of double notes with the greatest facility and correctness, at the same time effecting a considerable saving of time and expense by entirely superseding the old method of obtaining fifths by changing the strings." It is manufactured and sold by Mr. John Hart, 14, Prince's-street, Leicester-square, London.
ADDENDA.
LARCHE, ---- Brussels, 1847. Copyist of old makers. One of those who endeavoured to produce an old tone by the use of acid, and consequently spoiled the wood.
ALBANESI, ---- Cremona, 1737. Similar to Testore of Milan, but broad pattern. His instruments have a large tone, but poor varnish.
GOBIT, ---- Venice, 1716. Made similar instruments to Ruggerius, and used beautiful varnish.
GABRIELLI, ---- Florence, 1740. Made excellent Violoncellos, yellow varnish. Written labels.
ANTONIAZZI, GAETANO, Cremona, 1860. This maker sent a violin to the Exhibition of 1862, but is much behind his predecessors.
FALCO, ---- Cremona, 1752. Made well proportioned instruments.
HARRIS, CHARLES, London. An admirable workman. His instruments are among the finest of the English.
GAGLIANO, NICHOLAS, Naples, pupil of Stradiuarius. We have a note (omitted in its proper place) that this maker excelled in violoncellos, many of which are covered with fine rich varnish, seldom seen on instruments by the Gagliano family.
* * * * *
In our notice of Stradiuarius Violins at page 113 we should have said that William Howard, Esq., of Sheffield, possessed _two_ fine examples--one as described and the other of the beautiful red varnish, the latter formerly the property of the celebrated violinist Salomon, for whom Haydn wrote his twelve grand symphonies.
PEARCE, PRINTER, SHEFFIELD.
End of Project Gutenberg's Violins and Violin Makers, by Joseph Pearce