In considering the first point, power, the amateur will have to beware of a very possible mistake he may fall into. There is _apparent_ power under the ear, arising from coa.r.s.eness. This is a species of power which is observable chiefly by the player. The listener, especially if at a little distance, does not hear this power. The tone is clogged and thickened with the resinous particles which have remained in the wood and which perhaps, from its nature may never leave it altogether, and the vibration is not therefore perfect. Another cause of false power is a certain imperfect build wherein the parts are not properly calculated as in the fine Cremona productions. These two cla.s.ses of instruments are very apt to deceive unpractised ears. But a moment's comparison with one of the genuine great masters will show them in a most unmistakable manner the difference. What then is real power? It is simply musical tone, divested of all advent.i.tious qualities. When tone of this cla.s.s is heard near, the effect is charming to the ear. When heard afar off, it seems to swell out and become magnificent and telling. Who that has heard a great player on a fine instrument, that has not been astonished at the immense quant.i.ty of tone which arises from this exceedingly fine quality. And it is in this way that even the small Amatis, built when great amount of tone was not wanted and would not have been appreciated, are still most delightful as solo instruments. Its purity and fine quality carry it to a much greater distance and produce a greater effect, than would arise from larger instruments of less careful build and euphonic qualities. Herein is discovered the difference between violins of the three great masters named and others of the same name. If a small Nicholas Amati be compared with a large model, it will be found that the quality is similar, but the quant.i.ty is greater, and therefore the instrument becomes more valuable. Again, in a Stradiuarius or Joseph Guarnerius of the best period, which are of the flat model and most accurate build, we find a pure ringing and deliciously rich quality, without roughness or coa.r.s.eness, that finds its way through everything to a great distance, even in a crowded concert room. The differences in the three great makers seems to be now decided to consist in fullness of tone and quant.i.ty of power. The Amatis are essentially sweet and vocal. The Stradiuarius--of similar quality, greatly increased in body and of a more ringing bell-like character. The Guarnerius of the best model is even still more powerful. But they all possess that essential purity and richness of tone without which there is no real excellence. On this head we find, therefore, that power, providing it be accompanied by the other essentials of sweetness and purity, confers on violins the greatest value. A Nicholas Amati of the grand pattern--a Stradiuarius of the large flat model, or a Guarnerius of similar characteristics--all of which have been built with the greatest care and attention to the resonant qualities of the wood, and possess all these essentials--are therefore the instruments that have and will always command the greatest admiration.

The next essential point in a good instrument we have to consider is sweetness. This combines characteristics which are not essential to power. A violin may possess the latter without the former. The tone may be of a quality which will tell and carry, but not of that soft delicious voice like nature which we call sweetness. The most admirable instruments of this characteristic have been variously compared to a flute or to the female voice. The latter is the best comparison. For the brightest examples of this quality alone we must look to the small violins of Antonius and Hieronymus, and also of Nicholas Amati. They are of the most delicious quality, and for solo instruments cannot be excelled. They respond with the most charming effect to the most touching and pa.s.sionate expression. A great player can really sing on these with such a delightful effect as almost to compensate for the want of speech.

The third point is purity of tone. We may be said to have touched upon this already in treating of the other two. But it is necessary to allude to this also, because it is possible to have purity of tone without sweetness or power. There are many instruments which from age and use have lost all harshness or roughness of tone, but are still of a thin piercing quality. These may be said to be pure in tone, but not possessing the other requisites they fail in commanding attention. What we have to look for in a violin is that roundness and fullness of quality which are combined in the term sweetness. Tone cannot be said to be sweet which is thin or piercing. It lacks one essential characteristic. It is on this account that in the present day many of the Steiner instruments have lost favour. There are a few which possess both sweetness and purity, and they rank with the small Amatis. But the best of them are wanting in power. This characteristic is only heard in perfection in the Stradiuarius or the Guarnerius of Cremona, and the great Brescian makers Gaspar di Salo and Magini. An amateur should look therefore in purchasing an instrument whether it possesses these three characteristics or any or which of them.

We have now shown what are the essentials of a fine instrument, but as the genuine productions of these great masters are mostly in the hands of rich amateurs it is scarcely possible to become the happy possessor of one of the perfect instruments. What then shall we do? The reply is simple. Study the characteristics we have described, and you will find in some of the pupils of the Amati, Stradiuarius, or Guarnerius a near approach to this excellence. In fact it is well known that in the scarcity of originals fine examples by the pupils have frequently been sold as the work of the masters themselves. The Dictionary we have compiled will tell the amateur what names will most probably supply the qualities he desires. Care and attention will do the rest.

ON THE PRODUCTION OF GOOD TONE IN VIOLINS.

In the preceding chapter we have endeavoured to solve the question what are the qualities that const.i.tute good tone. We now propose to inquire how good tone is provided for in the construction of the violin. We are not about to enter into the scientific question. We wish merely to give to the general amateur a knowledge which is often only acquired after years of patient study and trial of instruments, by certain general principles which will seldom or never be found to be incorrect in fact, and then only through instruments being built on false rules in other respects. In good instruments these rules may be said to be infallible.

It is a curious fact that Gaspar di Salo and Magini, both early makers, started with the principle which has since been brought to the greatest perfection by the Cremona makers, and built on the flat model. Their instruments are consequently found to possess much of the fine and powerful tone which distinguishes Stradiuarius and Guarnerius. The early Amatis, in the second place, built on a higher model, and their instruments possess a sweet but not powerful tone. Steiner, thirdly, built on a higher model still, and his instruments have a thin piercing tone. We can only draw one conclusion from these facts--namely, that the nearer we approach an entire flat in the model of a violin the fuller, rounder, and more powerful the tone; other points of careful work and good varnish being taken into consideration. This fact has strongly impressed itself on the minds of scientific inquirers, and the result has been, as tests of the principle, the production of flat violins. These have been tried and reported satisfactory in the matter of tone. But there are other points to provide for which a flat box does not allow. To gain the requisite ma.s.s of air to produce good tone a flat violin has to be made of a clumsy awkward shape. In the beautiful modelled violin this is provided for in the rise of the back and belly. The ribs may therefore be more or less shallow according to the height of the model, and yet provide a sufficient s.p.a.ce for the necessary amount of air for the production of good tone. We arrive then at this one certain fact, that the flatter the model of a violin the greater the probability of a good fine tone. It is of such violins therefore that we find the great performers possess themselves. This may be said to be an infallible rule, and an examination of the instruments of the most celebrated makers fully confirms it.

Why therefore did the elder Amati, contemporary and probably pupil of Gaspar di Salo, change the model and size of the instrument? This inquiry brings us to the second rule for the amateur. There cannot be a doubt that he adopted this plan because the flat model produced a more powerful tone than was then required. He therefore, no doubt acquainted practically, if not theoretically, with the principles of acoustics, raised his model and decreased his size to provide for the production of that eminently sweet tone which characterises his instruments. The amateur therefore who desires tone of this description, but does not want power, will generally find it in the model of medium height, providing as in all other cases, the work and the wood are good. Of this model are some of the sweetest toned violins to be found, of which the Amatis are the type.

Finally, many instruments are to be found constructed on Steiner's plan with very elevated model flat on the centre, and falling off abruptly towards the sides. These are all contrary to acoustic principles, and their thin piercing tone is to be ascribed to the want of that harmonious communication of vibration which their peculiar construction inevitably indicates.

Let, therefore, the amateur who wishes to be his own purveyor, examine, with these principles impressed on his mind, whatever instruments he can gain access to and the result will be that he will seldom err in this matter.

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 cla.s.s 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 cla.s.s 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 ba.s.s.

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 cla.s.s. 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 Andreae, 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 cla.s.s 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 a.s.sumes 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 cla.s.s 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 ill.u.s.trate 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.